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ISSue 2

A3 TOMÁŠ KUBÍNEK

A4 EVENTS AND EXHIBITIONS AT THE CRAFTS CENTER

A5 PIANO RECITAL

A7 GREGG MUSEUM PRESENTATION: PETER RICHARDS

A8 PMC LECTURE SERIES: GAVIN DOUGLAS

A8 MUSIC DEPARTMENT SPECIAL EVENTS & TOURS

A9 LADIES IN RED

A10 PANORAMIC DANCE PROJECT SPRING CONCERT

A14 DONOR SPOTLIGHT: KATE GREEN

ARTS NC STATE Spring 2013 | Issue 2 | March15-March 23, 2013

NCSU CENTER STAGE pRESENTS

tomáš kubínekcertified lunatic and master of the impossibleFRIDAY & SATURDAY, MARCH 15 & 16, 2013 AT 8pM | TITMUS THEATRE

Tonight’s show will be performed without an intermission.

In 1991/92, with Britain’s The Right Size physical theatre company, Mr. Kubínek created and performed Moose, a surreal comedy about three men braving the elements of the Arctic Tundra. The play toured Europe for one year and received Time Out magazine’s #1 Critic’s Choice Award.

In 1997 and 1999, Tomáš Kubínek played limited engagement runs at Broadway’s New Victory Theater. Both runs sold-out in advance and received rave reviews from audiences and critics alike. The New York Times lauded his work as “absolutely expert and consistently charming!”

In 2000, with director and writer Jim Jackson, Mr. Kubínek co-created and starred in Bed, a performance about the nightmarish adventures of an in-somniac cabaret artist imprisoned in his hotel room. In 2003, the play Bed was adapted to the screen and became the film Tucked into Bedlam, which aired nationally in the U.S. and Canada on both Bravo! and CBC, and was voted one of the top cultural specials of the year to be produced in Canada.

While touring with his solo work, Mr. Kubínek teaches master classes for theatre students and professionals, and occasionally writes and directs new works, collaborating on pieces for solo artists and theatre companies. In 2000, he co-created and directed Not Yet, At All, a one-woman show starring Edith Tankus. He later wrote and directed the play…all god’s chil-dren… for three Portuguese actors from the company Teatrinho. He most recently co-created and starred in Denmark in Don’t Let Me Down, playing a wealthy businessman opposite Louise Hansen, a published Danish poet who has Down syndrome, who played his angel.

In the summer of 2009, Mr. Kubínek was artist-in-residence as guest of The John Micheal Kohler Arts Center in Sheboygan, Wisconsin. He created, directed, and hosted The Big Sheboygan Shebang, an amazing vaudevillian extravaganza featuring over 200 local performers, two horses, and a boa constrictor. The performance celebrated the history, people, and culture of Sheboygan and played to a sold-out audience in the historic Weill Center for the Performing Arts.

His most recent work, Professor Kubínek Meets the Symphony, features Mr. Kubínek as a special guest artist with symphony orchestras. The performance was commissioned by The University of Iowa’s Hancher Auditorium and had its premiere tour of five cities in Iowa and Nebraska this winter with both Orchestra Iowa and The Omaha Symphony. The performance will continue to tour to symphony orchestras around the world.

Mr. Kubínek is the recipient of international awards including The Moers Comedy Prize from The International Comedy Arts Festival in Germany, The Schneestern Award from the International Festival of Humor in Arosa, Switzerland, and The Samuel Beckett Theatre Award from The Dublin Theatre Festival in Ireland. He now resides in rural Connecticut. For more information, please visit www.kubinek.com.

Tomáš Kubínek is represented by Opus 3 Artists.

In the past couple of years alone, Tomáš Kubínek has appeared as the headline performer at the First International Congress of Fools in Moscow, has played to capacity crowds in a two-month tour across Italy, and has performed a sold-out run at London’s prestigious Royal Festival Hall Purcell Theatre as the featured solo-artist of the London International Mime Festival.

He has performed in over 30 countries, with appearances at theatres, opera houses, international festivals of theatre and humor, in television specials, and on Broadway.

Tomáš Kubínek (toh-mawsh koo-bee-neck) was born in Prague and at the age of 3 was smuggled out of the country by his parents to escape the 1968 Soviet invasion of Czechoslovakia. After two months in a refugee camp in Austria, the Kubínek family was granted asylum in Canada and it was there, in St. Catharines, Ontario, that Tomáš witnessed his first circus. He became passionately interested in clowns, circus, theatre and magic, and his perplexed yet well-adjusted parents took him to see every show that passed through town.

At age 9 he presented his first performance before a circle of elderly magicians. By age 13 he had an agent and was performing sleight-of-hand in coffeehouses between folk music acts, and while still in his teens, he made his circus debut with a Brazilian clown duo as the rear half of a two-person horse. There was no turning back…

Working any and all jobs related to showbiz, the enterprising young Kubínek was able to save money and travel to Europe to study with some of the world’s greatest teachers of theatre, including Monika Pagneaux, Pierre Byland, Jacques Lecoq and Boleslav Polívka. These studies, combined with many years of independent experimentation in the art of live performance, gave birth to his unique style of work.

Besides his solo work, Mr. Kubínek has enjoyed collaborating with other artists. He has been featured on Czech National Television with the celebrated actor and clown Boleslav Polívka on Mr. Polívka’s annual TV Specials and with writer and comedian Frank van Keeken he has performed in numerous guerilla-style absurdist theatre sketches at the HBO Workspace in Los Angeles.

Mr. Kubínek has also appeared with the U.S. theatrical circus, Circus Flora, on numerous occasions. As “guest villain,” he masterminded an elephant kidnapping, terrorized spectators and later plummeted 40 feet into the ring after fencing on the high-wire with Tino Wallenda of The Flying Wallendas.

photo: d.a. Hill

during the performance: silence your cell phone no photography no texting thank You!

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In conjunction with a weekend workshop presented by the Triangle Potters Guild, NC State students and the public are invited for a free evening presentation by noted North Carolina potter Leah Leitson.

Leah Leitson is the Chair of the Art Department at Warren Wilson College in Swannanoa, North Carolina. She received her M.F.A. in ceramics from Louisiana State University in Baton Rouge, and her undergraduate B.F.A. in ceramics from New York State College of Ceramics at Alfred. Leitson completed residencies at the

Archie Bray Foundation in Helena, Montana, and Banff Center for the Arts in Alberta, Canada. She is a member of Piedmont Craftsmen and the Southern Highland Craft Guild. She has led many workshops throughout the U.S., including the Penland School of Crafts here in North Carolina, Arrowmont School of Crafts in Gatlinburg, Tennessee, and has taught workshops in Italy and Israel.

Leitson works exclusively in porcelain. Her work has been featured in many exhibitions nationally and internationally. Her work can be seen in array of publications, from books to magazines, and is found in museums and private collections.

I love teaching. The exchange of ideas is endlessly stimulating and person-ally rewarding. Teaching gives me an opportunity to share some of the knowledge and skills I have learned, but the real pleasure comes from seeing students learn and grow so dramatically. In my own work, I have always enjoyed making pieces for the table for “every day,” as well as for “special” occasions. My forms are predominately inspired by the eighteenth and nine-teenth century decorative arts, particularly utilitarian silver tableware and Sevres porcelain. I am further inspired by plant forms in nature. My intent is to integrate the two so that they become one. My work is thrown, altered, and assembled, and is made with a porcelain clay body. – Leah Leitson

The Triangle Potters Guild is sponsoring a weekend workshop with Leah Leitson, “Wheel-thrown, Altered and Assembled Utilitarian Pottery,” on Saturday & Sunday, March 16 & 17. For more information on how to register, visit www.trianglepotters.org. A registration discount is available to NC State students.

Constantly challenging my personal balance between form and function, I find that aesthetics, visual texture, and negative space are three key factors to my work. Often, I dream in sketch with my eyes following the tip of a pencil as I get lost in bold lines and full bellies that loom and perch atop twisted feet. The passion I feel when I bring those details and private sketches to life is indescribable; to

watch them spin in silky leather hard finality is the catalyst to my next piece.

While my heart belongs to salt and atmospheric firings, glazing in general car-ries little stress for me. Fire will burn and glazes will melt to fill textures and smooth into a choice of glassy candy coating. Utilitarian ware begs for crisp and clean surface while more sculptural pieces – the funky pieces – deserve

more unique decisions. Ultimately, it is clay that moves me, often more than I move it. A recently developed obsession for turning paper clay, be it porcelain or stoneware, has captivated me with the strength it lends to immediate and often drastic alteration.

My hands seem so confident in focused moments; as if they have lived as an artist longer than I. Effortlessly creating aesthetic contours for virgin hands is a humble consideration that puts emphasis on touch. When people see my work I am always eager to hand it over and watch them experience beyond just looking. In time, perhaps by the end of my next decade, I hope to possess a workspace that allows me to create pots that may be too large to hold but instead invade space on a more monumental level.

– Jennifer Siegel

events and exhibitions at the crafts centerleah leitson | Responding to Touch: Thrown and Altered PorcelainFRIDAY, MARCH 15, 2013 AT 7pM

Ellen Ma-Lin Ko started taking lessons in traditional Chinese brush painting as a child in Taiwan, with instruction from two well-known professional artists, Lin Shen-Jean and Shao Yu-Huan.

She has continued her practice of Chinese brush painting ever since her graduation from the World College of Journalism in Taiwan. Ko’s artwork has been shown in several local art shows and art galleries here and in Atlanta. Her painting has been accepted in many juried shows, and she has won many art awards and bank purchase awards.

ellen ko: chinese brush paintingsExHIbITIoN: MARCH 20-JUNE 16, 2013 | opENING RECEpTIoN: SATURDAY, MARCH 23, 2-4pM

jennifer siegel: turned onExHIbITIoN: MARCH 20-JUNE 16, 2013 | JEnSEn STREET GAllERy WIndoWS

The Crafts Center presents an exhibition of pottery & ceramic art by Jennifer Siegel, our Clay Studio Manager.

A4 « ncsu.edu/arts

during the performance: silence your cell phone no photography no texting

thank You!

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MUSIC @ NC STATE pRESENTS A

piano recitalSUNDAY, MARCH 17, 2013 AT 4pM | TITMUS THEATRE

Olga Kleiankina and piano students

The Seasons, op. 37b (1875-1876) .......................................................................P.I. Tchaikovsky.........................................................................................................................................(1840-1894)

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Pictures at an Exhibition (1874) ........................................................................ M.P. Mussorgsky.........................................................................................................................................(1839-1881)

With the 18th century reforms implemented by Peter the Great, the Russian upper and middle classes adopted Western European lifestyles, fashion, and in some cases language, distancing them from the Russian language and tradition. The cultural life of the nation was sustained by opera and theater companies brought from Europe, and by a handful of Russian artists who were in most cases trained in France and Germany, and continued their respective work based on the traditions of these countries. Russian art, literature, and science were emulating their western European counter-parts, while the political and economic life of the Russian nation was in a sense one step behind those of Western European countries. To beguile the people’s trust in the government and consolidate power after the Decem-brist Revolt of 1825, Czar Nicholas I resorted to the nationalism afforded by Russian history, tradition and Orthodox religion.

In 1833, the Czar’s minister of education, Sergey Uvarov, developed a program of “Orthodoxy, Autocracy and Nationality” as the foundation for the Czarist regime. The people were expected to demonstrate unquestionable loyalty to the unlimited authority of the Czar, to the customs of the Russian Orthodox Church, and to the Russian language. The official policy on Russian nationalism initiated debates on Russia’s status in the world, and the meaning of its past and its future. While the group of “Westernizers” believed that Russia needed “Europeanization,” they were opposed by a group of Slavophiles whom were advocates of Slavic culture and customs and were enemies of Western influences. The continuing social and economic tensions of the period culminated in one instance as reform with the emancipation of the serfs in 1861 during Alexander II’s reign. This particular development led to many middle-class gentry to lose income as landlords, leading many to resort to other professions. In turn, a new professional middle class began to grow, and the term intelligentsia came into use to describe this class of well-educated and socially aware individuals, marking a golden era of Russian culture.

Similar to the Romantic nationalistic movement in European art of the same period, Russian writers, composers and artists found a new source of inspiration and a new identity in their own history and folklore. The 19th century in Russia became a golden period of flourishing literature and art. Through the writings of A. Pushkin, N. Gogol, and L. Tolstoy; the art of Peredvizhniks I. Repin, V. Surikov, and I. Levitan; and the music of Mikhail

Glinka, Dargomyzhsky, “The Mighty Five” and Tchaikovsky, Russian culture gained international importance and recognition.

The Mighty Five (Moguchaya Kuchka, “The Mighty Little Heap”) was a group of five composers – César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimsky-Korsakov – who in the 1860s teamed together to create a truly national school of Russian music that was free of the influences of Western European music. These musicians had no formal musical training, and they opposed European-trained conservatory composers. They believed that they should be close to the “Russian soil” and authentic Russian culture.

The Mighty Five composers found their uniqueness in Russian folklore, and by incorporating traditional subjects and the musical language of the Russian folk songs. The mutable tonal centers, heterophony, and parallel intervals resulted in an effect of raw sonority in comparison to the polished harmonies of Western European music. In addition, the composers experimented with new sonorities that were not present in Russian folk or church music: whole-tone, diminished and pentatonic scales, modes, use of Russian submediant, and modular rotation in sequences of thirds. These innovations were later continued by composers A. Scriabin, M. Ravel, I. Sravinsky and O. Messiaen.

In early 1870, modest Petrovich mussorgsky (1839-1881) met a young artist and architect Viktor Hartmann. Both men were interested in authentic Russian art and soon became friends. Hartmann’s sudden death three years later shocked Mussorgsky and the Russian artistic circles. In 1874, Hartmann’s friends, including Mussorgsky, organized an exhibition of his works. Six weeks later Mussorgsky composed a suite in ten movements in memory of his late friend. The title Pictures at an Exhibition was added after the completion of this work.

The music illustrates an imaginary tour of an exhibition. The theme of a Promenade depicts the act of walking. In its shorter appearances in interludes, it captures the changes in attitude as the viewers approach a new exhibit. The titles of individual movements refer to Hartmann’s work, some of which were made during his travels abroad (The Old Castle is viewed to be a sketch made in Italy; Bydlo in Poland; and Tuileries,

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Limoges, and Catacombae in France); and some describe characters (“Samuel” Goldberg and “Schmuÿle”), objects (Gnomus – a nutcracker for a Christmas tree, Hut on Hen’s Legs – a Russian style clock) or design sketches (The Bogatyr Gate).

Pyotr Ilyich Tchaikovsky (1840-1893) took piano lessons from the age of five. He was a gifted pupil, and his family encouraged his musical education for both aesthetic and practical reasons. However, at the age of 10, Tchaikovsky was sent to study at the Imperial School of Jurisprudence in Saint Petersburg. Nine years later, he graduated with the rank of titular counselor, and immediately afterwards was appointed to the Ministry of Justice as a junior assistant. After a two month period, he became a senior assistant, and remained in this position for the rest of his three-year civil service career.

His connection to music continued in the meanwhile; and as his profession-al and music careers were reaching a crossroad, in 1861, Tchaikovsky began attending music theory classes at the Mikhailovsky Palace, the predecessor to the Saint Petersburg Conservatory. These classes, guided by The Russian Musical Society (RMS), were part of the larger initiative encouraged by Alexander II in order to foster national talent, and educate artists within Russia as opposed to inviting them from abroad. RMS itself was founded only a few years earlier in 1859 by the Grand Duchess Elena Pavlovna and her protégé, pianist and composer Anton Rubinstein. It offered a regular season of public concerts, and provided basic professional training in music. The classes held at the Mikhailovsky Palace were a precursor to what became the Saint Petersburg Conservatory in 1862, where Tchaikovsky enrolled as part of its premiere class. Shortly after graduating from the Saint Petersburg Conservatory, Tchaikovsky was offered the post of Professor of Music Theory for the inaugural of the Moscow Conservatory.

Although he was initially attacked for his academic training and lack of originality by the composers of The Mighty Five, Tchaikovsky benefited from the Conservatory in many ways. It transformed him into a profes-sional musician, and helped him acquire the necessary compositional techniques and create his unique path. Tchaikovsky’s exposure to European traditions also gave him the sense that the two cultures are intertwined and belongs to a larger world heritage. This perspective became important in integrating Russian and European influences in his compositional style, and became a foundation for other Russian composers to build their own individual styles on.

The seasons, op. 37b is a set of 12 short character pieces dedicated to each month of the year. The cycle was commissioned by N. Bernard, the editor of the St. Petersburg music magazine Nouvellist with the idea of offering the readers a new musical composition with each month’s issue. The subtitles and the poetic epigraphs were chosen and suggested by Bernard. Tchai-kovsky started working on the pieces in 1875, shortly after the premiere of his First Piano Concerto, and continued while he was completing his first ballet, Swan Lake. Most of the miniatures are in ternary form, and each is a small masterpiece.

1. January: At the Fireside A little corner of peaceful bliss, the night dressed in twilight; the little fire is dying in the fireplace, and the candle has burned out. (Alexander Pushkin)

2. February: Carnival At the lively Mardi Gras soon a large feast will overflow. (Pyotr Vyazemsky)

3. March: Song of the Lark The field shimmering with flowers, the stars swirling in the heavens, the song of the lark fills the blue abyss. (Apollon Maykov)

4. April: Snowdrop The blue, pure snowdrop – flower, and near it the last snowdrops. The last tears over past griefs, and first dreams of another happiness. (A. Maykov)

5. May: Starlit Nights What a night! What bliss all about! I thank my native north country! From the kingdom of ice, snowstorms and snow, how fresh and clean May flies in! (Afanasy Fet)

6. June: Barcarolle Let us go to the shore; there the waves will kiss our feet. With mysterious sadness the stars will shine down on us. (Aleksey Pleshcheyev)

7. July: Song of the Reaper Move the shoulders, shake the arms! And the noon wind breathes in the face! (Aleksey Koltsov)

8. August: Harvest The harvest has grown, people in families cutting the tall rye down to the root! Put together the haystacks, music screeching all night from the hauling carts. (A. Koltsov)

9. September: Hunting It is time! The horns are sounding! The hunters in their hunting dress are mounted on their horses; in early dawn the borzois are jumping. (A. Pushkin)

10. October: Autumn Song Autumn, our poor garden is all falling down, the yellowed leaves are flying in the wind. (Aleksey Nikolayevich Tolstoy)

11. November: Troika In your loneliness do not look at the road, and do not rush out after the troika. Suppress at once and forever the fear of longing in your heart. (Nikolay Nekrasov)

12. December: Christmas Once upon a Christmas night the girls were telling fortunes: taking their slippers off their feet and throwing them out of the gate. (Vasily Zhukovsky)

piano recital (cont)

A6 « ncsu.edu/arts

Beyond the little stone lighthouse that marks the end of Yacht Road and on out at the very tip of the narrow jetty separating San Francisco’s little ma-rina Boat Harbor from the open waters of San Francisco Bay, is a place that few tourists visit – but that is a beloved picnic spot for in-the-know locals.

In full view of Alcatraz Island, the Golden Gate Bridge and much of the city’s famous skyline, is what looks like a collection of ancient ruins. And scattered among its fallen granite columns, elaborately carved marble archi-traves and hewn limestone plinths are odd bits of pipe and concrete culvert projecting from the ground. Spread a picnic blanket near any of them, and one will be treated to the naturally amplified sounds of the surrounding waters. As the tides rise and fall, or as breezes whip gentle ripples into serious waves, the tones and rhythms change; the sound is created by the slapping and surging of the water through the submerged and hidden ends of the pipes, which extend out into the bay and marina.

Called the Wave Organ, the site is a massive acoustic sculpture created by Peter Richards, a senior artist who has been in long-term residence nearby at San Francisco’s famous Exploratorium science museum. The jetty itself provided the raw materials – it is built from the discarded stone monu-ments and mausoleums of a demolished Victorian cemetery. With the help of master mason George Gonzales, Richards spent much of 1985-86 constructing a network of 25 “organ pipes” that enter the water at various depths and angles, and are cleverly hidden beneath tons of carved archi-tectural debris. By sitting between adjacent pipes heading off in different directions underground, the listener is treated to a subtle stereo effect that calls attention to the aquatic environment. It is no surprise that the Wave Organ has become a favorite place not only to enjoy a homemade sandwich but also to practice meditation.

Although there is nothing else quite like it, Richards’ Wave Organ is typical of his approach to making art that responds to the natural world and to the detritus of the human presence. Other permanent outdoor installations he’s made include Blanche, a floating acoustic sculpture in Seattle, and La Som-bra Danza, a kinetic shade structure in Phoenix, in which intense sunlight beams through shifting mesh screens to create dazzling moiré patterns on the ground. Wave Wall, a wind-driven façade for an education center run by MIT and CalTech, generates ripples that make the building itself seem as lively as a field of tall grass. For Aberdeen, Washington, Richards created Sky Sweeps, using three 85’ high oars that bend and wave in the wind as if rowing the sky. Other works include Wind Ride in Prigglitz, Austria, and Clapotis, an acoustic sculpture on Lake Geneva, Switzerland.

During a four-day workshop (March 18-21) Richards will be on campus at NC State to work with design, engineering, architecture, ecology and natural resources students to “imagineer” a piece for the future Gregg Mu-seum that might incorporate local materials like recycled laboratory surplus and other campus cast-offs. Primarily a conceptualizing workshop, the goal will be to lay the groundwork for conceiving a piece that would reflect the research and academic work that goes on at the university, but could be gradually constructed and eventually installed at the Gregg’s sculpture garden (to be located at its future site at 1903 Hillsborough Street, with an opening projected in 2015). A limited number of places in the workshop are open to the public. To sign up, contact the Gregg Museum’s Curator of Education, Zoe Starling, at zoe_starling@ncsu.edu or 919-513-7244. Participation is free.

Peter Richards has taught at the Center for Experimental and Interdisci-plinary Arts at San Francisco State, the Ecole d’ Art in Aix en Provence, the San Francisco Art Institute and at Stanford. Richards was a Fellow at the Studio for Creative Inquiry at Carnegie Mellon, director of Art Programs at San Francisco’s Exploratorium and a co-founder of the McColl Center for Visual Art in Charlotte.

THE GREGG MUSEUM oF ART & DESIGN pRESENTS

peter richards of the san francisco

exploratoriumMARCH 18-21, 2013

SITE RESponSE SEEd – a workshop with environmental artist peter Richards, to envision an

outdoor sculpture for the future Gregg Museum

THURSDAY, MARCH 21, 2013 AT 6pM: public presentation of the results

of the workshop

1986, Wave Organ: The permanent installation of a wave-activated acoustical sculpture in San Francisco Bay, sponsored by the

Exploratorium (collaboration with George Gonzales)

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Music and Political Change in MyanmarRecent years have witnessed tremendous political unrest in Burma/Myanmar. Minority separatist movements, economic stagnation, chronic detention of political prisoners and a multitude of other obstacles have plagued the history of this once prosperous nation. The detention of pro-democracy icon and Nobel Laureate Aung San Suu Kyi between 1990 and 2010 compounded a crisis of political legitimacy and brought this forgotten country back into international news circles. Now in 2013, Myanmar is redefining itself – the military dictatorship has stepped aside, political prisoners have been released, the economy is recovering and Aung San Suu Kyi zis a member of parliament.

Focusing on a wide variety of cases, supplemented by numerous audio and video examples, this presentation questions what role music has played in this tumultuous history. Not simply reflective of society, the role of music in Myanmar’s politics is not neutral but has been tied to the policies of the oppressing dictatorship and the pro-democracy resistance movements. From national unity festivals to monastic revolutions and from education policy to pro-democracy Internet campaigns, music has been a tool to both justify oppression and demand liberation and has been an active force in Myanmar’s struggles.

A lecture presented by Dr. Gavin DouglasGavin Douglas is Associate Profes-sor of Ethnomusicology and Head of the Music Studies Department at the University of North Carolina at Greensboro. He holds a B.Mus. degree (performance, classical guitar) and a B.A. degree (philosophy) from Queen’s University (Canada), an M.M. (ethnomusicology) from the University of Texas at Austin, and a Ph.D. (ethnomusicology) from the

University of Washington, Seattle. His research interests include aesthetics, nationalism, politics and globalization. Douglas’ pri-mary research area is in Burma/Myanmar, where he has studied the role of music in both reinforcing and challenging the authority of the state. His recent work focuses on the ethnic minorities of the highlands and on Buddhist musical practice. His book Music in Mainland Southeast Asia explores cultural diversity, political trauma and globalization across Burma, Thailand, Cambodia and Vietnam.

MUSIC @ NC STATE pRESENTS

price music lecture series: music and political change in myanmarTHURSDAY, MARCH 21, 2013 AT 7pM | TITMUS THEATRE

on march 22-23, the nc state music department will host the 4th annual mid-atlantic Women’s choir festival. this annual gathering celebrates women’s choirs and women’s voices, and provides a chance for choirs from several colleges and universities in the region to come together in song. our clinician this year will be former nc state choral director, al sturgis. participating schools include nc state, virginia tech, unc-chapel hill, meredith college, roanoke college and hollins college. the festival culminates with a performance at 3pm on saturday, march 23 at the unitarian universalist fellowship of raleigh, 3313 Wade avenue.

in april, the state chorale will embark on a weekend tour with concerts in virginia and maryland. they will perform at st. mark’s lutheran church in Yorktown, virginia on friday, april 19 at 7:30pm, and at the Westmoreland congregational united church of christ in bethesda, maryland on saturday, april 20 at 7pm.

the nc state jazz ensemble i and jazz combo will also tour in april. they will be performing at several high schools in the Winston-salem and charlotte areas, and will be a featured band at the 2013 city of the arts jazz festival at reagan high school near Winston-salem, performing on saturday, april 20 at 11am.

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special music events & tours

A8 « ncsu.edu/arts

during the performance: silence your cell phone no photography no texting thank You!

MUSIC @ NC STATE pRESENTS

ladies in redSATURDAY, MARCH 23, 2013 AT 7pM | JonES AUdIToRIUM, MEREdITH CollEGE

membersJessie Halpern (President), Psychology/CommunicationAshley Oskardmay (Music Director), BiochemistryLaura Poag (Business Manager), MathematicsTricia Artim (Public Relations), Construction EngineeringNoel Buck (Secretary), Business Economics & EntrepreneurshipAlexis Carson (Assistant Business Manager), Computer ScienceHeather Powell (Assistant Public Relations), BiologyGeorgina Ishak, BiologyCailin Moore, BiologyErin Jones, CriminologyPriya J, MicrobiologySarah Catherine Lucas, First Year College

Andy Beck, Vocal Coach

Ladies in Red is NC State’s premier all-female a cappella group. Since 1993, the Ladies have been producing a unique, ear-dazzling sound, singing genres from pop, hip-hop and jazz to indie and alternative!

Though the group is student-run, managing themselves, many members are drawn from NCSU choral ensembles, directed by Dr. Nathan Leaf, who serves as faculty liaison for the Ladies in Red. The Ladies also receive guidance from their vocal coach and advisor, Andy Beck.

Throughout the year, the group performs on campus at events such as commencement, alumni affairs, and charitable functions, and off campus at concerts, outdoor arenas, festivals, and even more! Be sure to follow the Ladies in Red on Facebook and Twitter for updates on upcoming appearances and events.

SonGS for toniGht’S ProGrAM will be SeleCteD

froM the followinG:

All You Need is LoveBleeding Out Blown Away

Call Your GirlfriendDie Young/Body

Home Honey Bee

I Knew You Were TroubleMama Do/Back to Black

No Scrubs/SurvivorPop Medley

Put the Gun DownSettle Down

Sh’BoomThe Way I Am

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during the performance: silence your cell phone no photography no texting

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THE NC STATE DANCE pRoGRAM pRESENTS

panoramic dance

project spring

concertSATURDAY, MARCH 23, 2013 AT 8pM | TITMUS THEATRE

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A10 « ncsu.edu/arts

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runChoreography: Willie HintonMusic: “Code Name Vivaldi” by the Piano GuysLighting: Stevan DuporPerformed by: Rebecca Anderson, Leslie Barber, Corinne Canavarro, Euijin Choo, Alexandra Cohen, Angelica Davis, Shelby Gabello, Ali Gates, Jordan Gower, Stephen Lai, Dianna MacFarland, John Miller IV, Serena Murison, Ashley Sartain, Natalie Seibel

“As our bodies stand still... our spirits remain in motion”

out of Chaos Choreography: Avis HatcherPuzzoMusic: CelloforteLighting: Stevan DuporPerformed by: FSUDE members Schanelle Ebanks, Adeeaylaw Israel, Kiesha Jennings, Deon Lee, Erica Mason, Ebony Norris, Keisha Thomas, Anthony Valesquez, Myka Webster, Peter Wilkins

AssessmentChoreography: Corinne CanavarroLighting: Stevan DuporPerformed by: Corinne Canavarro, Alexandra Cohen, Jordan Gower

Goodwill GucciChoreography: Rebecca A. FerrellMusic: “Thrift Shop” by MACKLEMORE & Ryan LewisLighting: Stevan DuporPerformed by: Rebecca Anderson, Leslie Barber, Corinne Canavarro, Euijin Choo, Alexandra Cohen, Angelica Davis, Shelby Gabello, Ali Gates, Jordan Gower, Stephen Lai, Dianna MacFarland, John Miller IV, Serena Murison, Ashley Sartain, Natalie Seibel

Production:Director of the Dance Program: Robin HarrisAssistant Director/Panoramic Dance Project Artistic Director: Tara Z. MullinsTechnical Director & Lighting Designer: Stevan DuporStage Manager: Anna RainsTechnical Crew: Titmus Theatre staff

program

Highway TrafficChoreography: Avis HatcherPuzzoMusic: “Rosarito” by Bostich and FussibleLighting: Stevan DuporPerformed by: Rebecca Anderson, Leslie Barber, Corinne Canavarro, Euijin Choo, Angelica Davis, Shelby Gabello, Ali Gates, Jordan Gower, Stephen Lai, Dianna MacFarland, John Miller IV, Serena Murison, Ashley Sartain, Natalie Seibel

The Power of FearChoreography: Rebecca AndersonMusic: “Fear” by One RepublicLighting: Stevan DuporPerformed by: Rebecca Anderson and Jordan Gower

response Interference Choreography: John Miller IVMusic: “Black Man Singing In Echo Mountain” by Daniel Bernard Roumain and Laurelyn DossettLighting: Stevan DuporPerformed by: Rebecca Anderson, Alexandra Cohen, Angelica Davis, Shelby Gabello, Jordan Gower, Dianna McFarland, Serena Murison, Ashley Sartain

stages Section 1: Prelude Music: “Threads: I. Prelude” by So Percussion Section 2: Invasion Music: “Threads; VI. Chorus” by So Percussion

Section 3: Carnage Music: “Prelude 4: Ricochet” by Vladimir

Choreography: Rhea PattersonCinematography: Michael T. CanoCostumes: Amy Castellucci and Sabrina TalsoLighting: Stevan DuporPerformed by: Rebecca Anderson, Leslie Barber, Corinne Canavarro, Euijin Choo, Shelby Gabello, Ali Gates, Jordan Gower, Stephen Lai, Dianna MacFarland, John Miller IV, Serena Murison, Natalie Seibel

michael T. Cano is a New York City-based cinematographer. He has photographed four narrative features. His latest film to photograph, Detonater, will make its world premiere at the Cinequest Film Festival in March 2013. Michael is also a CFA charterholder and was captain of the University of Oklahoma 2002 Men’s Basketball Final Four team.

stevan Dupor is the owner and head designer at DuporDesign, Inc., a lighting/sound design and equipment rental company based in Raleigh. Recently, he has designed The Sound of Music, Cinderella, Dracula, and Oklahoma! (Wakefield Theatre Co.), bare: the musical (Next Genera-tion Theatre Co.), and Aladdin (Legacy Repertory Co.). Stevan has also designed lighting for concerts including Santigold (MTV Iggy) and Aaron Lewis of Staind (Carolina Theatre). While he designs lighting for many different types of shows, Stevan’s artistic roots lie in dance lighting.

guest artists bios

Some of his favorite dance shows have included Bellan Contemporary Dance Theatre, Merge with Motion (Merge Records and TYB) and CAFA-NC’s Chinese New Year’s celebration.

rebecca A. Ferrell, a native of Richmond, Virginia, is a dance educator, choreographer and performer. She is currently the artistic director of FDANCE, a project dedicated to her work as an intervention dance artist. She was mostly recently selected as a 2012 artist for InLight Richmond and the 2011 Choreographer of the Year for the Richmond Region by Eureka! Dance Festival. As a performer, Rebecca has had the privilege to work with Tere O’Connor, Angela Ellsworth, Tara Z. Mullins, and Thomas Lehmen. Rebecca holds a BFA in Dance and Choreography from Virginia Commonwealth University as well as a MFA in Dance from Arizona State University. During her graduate studies, Rebecca was awarded the Gradu-

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ate Research Grant for her thesis project, Impressive Mastermind as well as the Excellence in Choreography Award from ASU Dance. Additionally Rebecca was the first ever School of Dance educator to win the Graduate Teaching Excellence Award. She also hold a Master’s Certificate in Non-profit Management from VCU. In addition to her position at VCU Dance, Rebecca is in charge of dance curriculum at John Tyler Community College and teaches at Henrico’s Center for the Arts. Rebecca also dances professionally for RADAR, a local contemporary company in Richmond.

A native of Connecticut, Avis HatcherPuzzo is as Assistant Professor of Dance at Fayetteville State University. She holds a BA in Dance/ Theater from Trinity College, an MFA in Theater Arts and Dance from Case Western Reserve University and a MS in Education from Capella University. Professor HatcherPuzzo has trained in Horton, Cunningham and Graham techniques and studied with Judy Dworin, Garth Fagan, Clay Taliaferro, Darius Hockman, Ned Williams and Kathryn Karipides. As a dancer with Paul Hall’s Contemporary Dance Theatre (a former member of the Alvin Ailey American Dance Theater), and the dance company Mikata, she founded Wette Paint Dance Theater, a contempo-rary dance and theater company, which toured the east coast. Her profes-sional colleagues include Frederick Curry, faculty member NYU dance department, Kim Stroud, former Graham company member and Director of The Greater Hartford Academy of the Arts, and Jo Matos of the Joffery Ballet. Having trained students who are now graduates of The Alvin Ailey School, Temple University dance department, New York University dance department, and University of the Arts in Philadelphia, Ms. Hatcher-Puzzo has been a North Carolina resident since 2008. Since joining the Performing and Fine Arts department at Fayetteville State University, has choreographed numerous productions including You’re A Good Man Charlie Brown, Clue: The Musical and Joseph and the Amazing Technicolor Dream Coat. Professor HatcherPuzzo has also created a Minor in Dance for the university and developed the FSU Dance Ensemble a touring dance company.

The FsU Dance ensemble, from Fayetteville State University, is a repertory dance company that performs on and off campus. With solid, consistent training in Horton modern dance technique in addition to jazz and African dance styles, the FSUDE believes that dance is a discipline as well as an art form. Students are required to take at least one dance class to be eligible for the ensemble, and auditions are held in the fall, with performances in the spring.

Willie Hinton, a native of New York, began dancing at the age of 16 at Enloe Gifted and Talented Magnet High School in Raleigh, NC. He was also a scholarship student at the American Dance Festival in Durham, NC. Upon graduating, Willie attended the University of the North Carolina School of the Arts where he received his BFA in Dance. Willie has toured nationally as well as internationally with The Rebecca Kelly Dance Company (NY), Jubilations Dance Company (NY), The Phila-delphia Dance Company (Philadanco), and Dance Kaleidoscope (IN). He was also a guest dancer with Chuck Davis’s African American Dance Ensemble (NC) and Binghamton’s New York’s Tri-City Opera Company. In addition to his performance career, Willie’s love of teaching allowed him to teach across the US and abroad. Hinton is trained in the National Dance Institute (NDI-NM) method of teaching children founded by world famous dancer Jacques d’Amboise. He was on staff at the School of the Richmond Ballet where he taught jazz, and modern. He was also a teaching artist for their outreach program “Minds in Motion” an affiliate of NDI. Willie’s international teaching has taken him to Bolivia, South America where he was in charge of the jazz/modern department at The Estudio de Capezio. He was also a guest teacher at the University of Bolivia and the American High School. Among many of Willie’s accomplishments, he won the “Artsy” award for “Best Choreography’’

in the Richmond community given by Richmond’s VA Theater Crit ics Choice members for his choreography for the African American Repertory’s Theater’s “Black Nativity”. It was also awarded a citation from Christopher Newport University for being an outstanding educator. Presently, Hinton is the Artistic Director of North Carolina Arts in Action, an affiliate of the National Dance Institute.

rhea Patterson, a Midlothian, Virginia native, received her B.F.A in Modern Dance Performance from the University of the Arts in Philadelphia, Pennsylvania, and her M.A. in Arts Administration from Goucher College in Baltimore, MD. Rhea began her performance career as a concert dancer earning professional accreditation through the Urban Bush Women, INSPIRIT, a dance company, NathanTrice Rituals, Dayton Contemporary Dance Second Company, Bermuda Dance Company, Hope Boykin Dance, and Eleone Dance. In 2006, Ms. Patterson made an unexpected transition into musical theater when cast in the 1st National Broadway to of Sweet Charity, the Chicago cast of Wicked, and the Broadway revival of Guys and Dolls. Rhea currently resides in NYC where she teaches movement and exercise classes to people with Parkinson’s during the day and performs Wicked on Broadway by night. Rhea is currently working on a solo project entitled Stage 5. Stage 5 is a docudance in collaboration with cinematographer Michael T. Cano, inspired by her love of dance and her relationship to Parkinson’s.

Anna K. rains is a senior in business administration with a concentra-tion in human resources. Anna is very excited to work with the PDP for the first time. She has worked previously with the NCSU Dance Company and University Theatre. Thanks to the family for their love!

companY biosrebecca Anderson is a sophomore from Asheboro, North Carolina studying Psychology. She has been dancing since age 3, and is currently a hip-hop instructor at Studio J Dance Center. Rebecca has been trained in ballet, lyrical, modern, jazz, tap, and hip-hop. She was America’s Teen Miss Dance 2010 for Dance Machine Productions and has also won various awards for her accomplishments in dance. This is her second year in Panoramic Dance Project, and she loves the wide variety of styles this program has to offer.

Leslie Barber is a freshman with a major in Fashion and Textile Manage-ment with a concentration in Fashion Development and Product Man-agement. She received her training from 2 ½ years of dancing Modern at Holly Springs High School dance program. She is trained in modern dance but enjoys African dance as well.

Corinne Canavarro is a sophomore at NCSU and is pursuing a Chem-istry major. She has been dancing for eight years with experience in modern, contemporary, jazz, and hip hop. Corinne is also a member of NC State’s Just Cuz Crew and is proud to be a part of PDP this year.

euijin Alley Choo is a Ph.D student studying computer science at NCSU. She is proud to be a member of PDP since Spring 2010 and a member of Fusion since Fall 2011. Euijin was a hip-hop dancer as a member of dynamic girls since 2003. She was also a main dancer in several Korean commercials including Casio electronics and was a backup dancer for famous Korean singers including Vibe. Euijin has won awards in several performance contests, including The Girl and Underground Jam.

Alex Cohen is a junior in the College of Textiles studying Fashion and Textile Design. She has been dancing for most of her life and has been a company member of Panoramic Dance Project and also enjoyed doing an independent study with the dance department this year.

guest artists bios (cont)

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companY bios (cont)

Angelica Davis is from Henderson, NC and has been dancing for the past ten years. She was first introduced to the performing arts by her family and has become a dancer and singer. She trained at Ballet Arts in jazz, ballet, and tap, has sang and danced in show choirs, and choreographed for PDP. Angelica has been a member of the NC State Chorale, NC State Women’s Choir and Uninhibited Praise Gospel Choir. Angelica is thrilled to be apart of Panoramic Dance Project.

shelby Gabello is a junior studying Psychology with a minor in Social Work. She started dancing at the age of 4 with ballet and tap. She contin-ued with ballet, contemporary and jazz dance classes throughout high school. This is her first semester with Panoramic Dance Project and she is excited to be a part of the company.

Ali Gates is a junior at NCSU studying Fashion and Textile Management with a concentration in Fashion Development and Product Design. This is her second year with Panoramic Dance Project. Ali has studied ballet, tap, and jazz for 10 years and is glad to be back with Panoramic Dance Project this year.

Jordan Gower is a senior in Mathematics and Math Education. He is excited to be taking part in his second year of the Panoramic Dance Project. He has been focusing his dance work on ballroom and modern, but is ready for all of the other styles that he is learning.

stephen Lai, 19 years old, graduated from East Chapel Hill High school last year and is currently enrolled as a freshman in the school of Engineering at NCSU. Despite being an Engineering major, he resides in Turlington Hall, the Arts Village, and takes choir and dance courses. As a dancer, he has had experience in Jazz, Hip-hop, and ballroom from participating in the high school musical Chicago as well as taking local studio classes. However, his interest in dancing began in middle school as a hobby with friends, and later evolved into a school club for students with a kindred passion for dancing.

Dianna macFarland is a senior Arts Application major from Fairfield, Connecticut and is very excited to be performing with Panoramic Dance Project for her sixth semester. Dianna studied ballet at the Connecticut Dance School for five years, and also has experience with tap and jazz. Her love of dance is deeply rooted in the mind and body connection that is fostered through personal and culturally driven works. She is thrilled to able to continue her dancing throughout college and expand her range with this group.

John miller IV is a sophomore psychology major and an Arts Entre-preneurship minor from Charlotte, North Carolina. John’s main style is liturgical dance but he has also been exposed to the styles of ballet, African, hip-hop, and lyrical. John is also a member of DanceVisions, the Collegiate 100, and he is the student assistant for the Center Stage/Arts Outreach Department at NCSU. This is his third semester with the Panoramic Dance Project.

serena murison has been with Panoramic Dance Project for three semes-ters. Serena was a member of Center Stage Dance Studio’s Ballet and Jazz company from 2003-2008. Through joining Panoramic Dance Company, she has come to appreciate several genres of dance and is in the process of broadening her dance horizon even further this season.

Ashley sartain is a junior majoring in Social Work. She is from Durham, North Carolina where she studied ballet and jazz at Carolina Dance Academy. This is her third semester in Panoramic Dance Project, and she is excited to continue to learn and grow as a dancer.

april 18th and 19th at 8pm Titmus Theatre

african dance master class series

upcoming dance program events:

april 1st | 3rd | 6thCarmichael Gymnasium Dance Studio(Room 2307)

Open to all students faculty and staff

Wednesday, april 24th from 5:45-7:30pm Carmichael Gymnasium Dance Studio(Room 2307)

Please contact Tara Mullins in the Dance office at 919-513-7345 or danceprogram@ncsu.edu if you would like to learn how you can participate in or support the Dance Program.

auditions for the 2013-2014 panoramic dance project

the ncsu dance companY spring concert

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natalie seibel is a junior majoring in Art & Design with a minor in Arts Entrepreneurship. She trained in the styles of ballet, jazz, contemporary, and pointe for fourteen years and had the opportunity to dance with the Moscow Ballet and the Carolina Ballet in the Nutcracker. This is her third semester in PDP.

THAnK YoU!Thank you to Robin Harris, Alexander Miller (Vice Provost, Division of Academic & Student Affairs); Dr. Mike Mullen (Vice Chancellor and Dean for Academic and Student Affairs); Dr. Thomas Roberts (Depart-ment Head, Physical Education); David Jones and the Titmus tech crew; the guest choreographers Rebecca A. Ferrell, Avis HatcherPuzzo, Willie Hinton and Rhea Patterson

Kate Green, a longtime supporter of the Gregg Museum, chose to make a major gift to the Gregg Museum Campaign for reasons – in the words of her late dear friend, Lynn Jones Ennis – from both the head and the heart. Kate is a textiles expert and embroiderer and the former Textile Curator for the Gregg (then called the Visual Arts Center). She admires art of all forms – textile, fine,

folk, craft, and self-taught art – and she appreciates the breadth of the Gregg’s collections and the museum’s importance to Raleigh and North Carolina. Kate is also devoted to realizing Lynn Ennis’ dream for the Gregg, which was to create a new museum at the site of the historic chancellor’s residence at 1903 Hillsborough Street.

An introduction to the GreggKate first became involved with the Gregg in the mid-1990s, when the North Carolina Museum of Art transferred over 300 textile objects to the Gregg Museum of Art & Design (then the Visual Arts Center). Suddenly the Gregg had a significant collection of textiles to catalog and store, and Charlotte Wainwright (then Brown), the Gregg’s longtime director, needed someone to manage the new acquisitions. Charlotte called Kate Green and asked her to join the Gregg as a textile consultant. Kate was an amateur art historian with extensive knowledge of textiles, especially embroidery. Kate accepted the position, marking the beginning of a decades-long relationship with the Gregg Museum.

When Kate reflects on her years as textile consultant, she recalls what she believes makes the Gregg special among area museums. First is the muse-um’s prescience. The Gregg began collecting furniture, architectural render-ings, and folk, tribal, and outsider art long before such acquisitions became popular. “Major museums are now collecting what the Gregg has always collected,” Kate states. She believes this speaks to the museum’s forethought and ability to identify emerging artists. “The Gregg has elevated what I call the ‘neglected arts’ and has given them a place to be seen.”

Second, Kate believes the Gregg Museum grants visitors exceptional access to its collections. “I don’t know another museum around that is as inviting to visitors.” Although the Gregg holds the mission and values of an ac-cessible museum, the Gregg has been held back by its current location in Talley Student Center. Kate explains, “The Gregg is a hidden treasure, and I really believe that the [Gregg Museum Campaign] is a Field of Dreams opportunity. If we build it, they will come, and the Gregg will be a gateway to the cultural arts in Raleigh.”

A dear friendship with lynn Jones ennisAfter helping her sons complete their college applications in 1987, Kate decided that she was capable of and wanted to return to school.

She enrolled in the Master of Arts in Liberal Studies program at Duke University, where she met the Gregg’s future curator, Lynn Jones Ennis. Kate recalls that she and Lynn were good friends from the very first day. Lynn was a year ahead of Kate in the program, but since both she and Kate were commuting from Raleigh, they quickly set up a carpool and subse-quently dinners together before class.

Once Lynn completed her master’s, she began work on her PhD. At Kate’s recommendation, Lynn conducted much of her dissertation research at the Gregg, and by the time Kate had concluded her work as textile consultant, Lynn had been hired as the Gregg’s curator of the collection.

When Kate reflects on her relationship with Lynn, she speaks to Lynn’s exceptional ability to be a friend. Kate describes Lynn as “thoughtful in all contexts of thoughtfulness.” She recalls fondly and with sadness their many trips together, which always included art museums. Lynn and Kate challenged one another to analyze not only the artwork but the museums themselves, and the choices of the curators, architects, and other staff. Kate recalls, “every time we looked at a piece of art together, Lynn and I asked each other for two words: one from the head and one from the heart.” Lynn asked the same question of her students, which Kate believes encouraged them (and everyone else) to think about art honestly, thoughtfully, and without intimidation.

At Lynn’s urging, Kate joined the Gregg Campaign Committee in the spring of 2011 and immediately began lending her experience, including serving on the Board of Trustees of Hospice of Wake County Foundation, to the Gregg Campaign. Kate also made one of the first major contributions to the Gregg Campaign when she named the Kathryn H. K. Green Textiles Storage Area.

After Lynn passed away suddenly and unexpectedly in late July 2011, Kate approached the Gregg Campaign project with a new purpose: to honor Lynn’s memory. Kate now leads a group of Lynn’s friends in an effort to raise $100,000 to name the Dr. Lynn Jones Ennis Room in the historic chancellor’s residence. Kate hopes to reach the $100,000 goal by recruiting Lynn’s many friends to join the Founding Friends of the Gregg Museum Campaign. Founding Friends are donors who commit $5,000 to $24,999 (pledges may be paid over a period of up to five years). These gifts may be designated toward the Dr. Lynn Jones Ennis Room, and all Founding Friends will be recognized on a comprehensive plaque. Gifts of all sizes are welcome, and Kate hopes that the countless lives Lynn touched will choose to honor her memory by supporting the Gregg Campaign.

Kate cannot wait for the Gregg Museum to be open in its standalone, permanent location at the historic chancellor’s residence. Until then, Kate will continue to dedicate herself to the future Gregg, for herself, for the community, for the art, and most of all, for Lynn. In other words, for the head and for the heart.

ARTS NC STATE thanks Kate Green for her commitment to the Gregg Campaign. If you would like to learn more about giving to the Campaign for the Gregg Museum, please contact Nicole Peterson, Director of Development for ARTS NC STATE, at 919-513-1337 or nicole_peterson@ncsu.edu. You may also contact Virginia Yopp, Gregg Campaign Manager, at 919-812-2355 or virginia_yopp@ncsu.edu.

Two woRDS: oNE FRoM THE HEAD, oNE FRoM THE HEART –

kate green on why she supports the campaign for the Gregg Museum of Art & Design

L-R: Marilyn Gordon, Lynn Ennis, Charlene Askew, Kate Green, Sissy Ashby and Jean Carr

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