with composer Wu Fei performing on guzheng, Shanir Ezra Blumenkranz performing on oud, and the chatterbird ensemble
Hello Gold Mountain is a requiem for lost possibilities of the Jewish community of Shanghai.
The piece is inspired by stories of Jewish refugees who fled to Shanghai from Europe during World War II. From 1933 until the end of the war, Shanghai was often the only port at which Jewish refugees fleeing Europe could disembark without a visa. In the early 1940s, more than 20,000 Jews lived in Shanghai and contributed to its cultural and civic life.
But the Jews could not stay. As China’s bloody civil war came to a close in 1949, most fled. Many emigrated to the US, often arriving at the port of San Francisco, or Old Gold Mountain.
What musical possibilities were lost because the times did not allow neighbors from these different cultures to grow old together, sharing songs and stories? Similarly, what artistic creations will be lost if Europe and the United States close the door to refugees and migrants from lands in chaos?
Public performance: Thursday, September 9, 7:30 pm, Schrott
Residency Activities TBA
Mikael Burke is a Chicago-based director, deviser, and educator. A Princess Grace Award-winner in Theatre, Jeff Award-nominated director, and proud Butler Theatre grad (‘09), Mikael’s worked with Victory Gardens Theatre, Northlight Theatre, Jackalope Theatre Company, Windy City Playhouse, About Face Theatre, First Floor Theater, American Theatre Company, Chicago Dramatists, and The Story Theatre in Chicago, and regionally with Geva Theatre Center, Indiana Repertory Theatre, Asolo Repertory Theatre, and Phoenix Theatre. Mikael serves as Associate Artistic Director at About Face Theatre in Chicago, is Head of the Directing Concentration of the Summer High School Training Program of the Theatre School, and is an adjunct faculty member there as well as in the Chicago College of the Performing Arts at Roosevelt University. Recent directing credits include we are continuous by Harrison David Rivers; Kill Move Paradise by James Ijames; The Agitators by Mat Smart; Sugar in Our Wounds by Donja R. Love; At the Wake of a Dead Drag Queen by Terry Guest. mklburke.com
Jackie Sibblies Drury’s plays include Marys Seacole (OBIE Award), Fairview (2019 Pulitzer Prize), Really, Social Creatures, and We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West Africa, From the German Sudwestafrika, Between the Years 1884-1915. The presenters of her plays include Young Vic, Lincoln Center Theatre, Soho Rep., Berkeley Rep, New York City Players & Abrons Arts Center, Victory Gardens, Trinity Rep, Woolly Mammoth, Undermain Theatre, InterAct Theatre, Actors Theater of Louisville, Company One, and The Bush Theatre. Drury has developed her work at Sundance , Bellagio Center, Ground Floor at Berkeley Rep, Soho Rep. Writer/Director Lab, New York Theatre Workshop, Bushwick Starr, LARK, and MacDowell Colony, among others. She has received the Susan Smith Blackburn Prize, a Jerome Fellowship at The LARK, a United States Artists Fellowship, a Helen Merrill Playwriting Award, and a Windham-Campbell Literary Prize in Drama.
Public performances: Wednesday-Sunday, October 6-10, 2021, Lilly Hall Studio Theatre
Workshop for theatre students, faculty, and staff with Ms. Drury: Friday, October 10, 2021, 1:00-3:00 pm
Post-show Q and A with Ms. Drury: Friday, October 10, 2021
Abigail Smithson is a multi-media artist who has exhibited work in the United States and internationally. She received her Bachelor of Studio Arts from the University of Colorado at Boulder and her Master of Fine Arts from Louisiana State University. Her art practice is rooted in the appreciation, translation, and act of archiving objects that record their surroundings. She challenges the traditional ideas of representation and works to create photographs as documents, in a both nuanced and abstract way. The game of basketball has been a longtime muse for her and she follows and believes firmly in the New Craft Artists in Action collective motto, which is Participation vs. Spectatorship when it comes to sports. Through her podcast Dear Adam Silver as well as her other work, she questions the current narrative around sports and art and how the two cultural entities overlap and live side by side. She is currently a Visiting Professor of Art at Lyon College, located in Batesville, AR.
Public lecture: Monday, October 25, 2021, 7:30 pm, EDRH: Breathe in an Alley-Oop
Workshops with art students TBD
Phil Chan is a co-founder of Final Bow for Yellowface, and author of Final Bow for Yellowface: Dancing between Intention and Impact. He is currently a ‘21/’22 Visiting Scholar at the A/P/A Institute at NYU, and the Manhattan School of Music’s ‘21/’22 Citizen Artist. He is a graduate of Carleton College and an alumnus of the Ailey School. As a writer, he served as the Executive Editor for FLATT Magazine and contributed to Dance Europe Magazine, Dance Magazine, Dance Business Weekly, and the Huffington Post. He was the founding General Manager of the Buck Hill Skytop Music Festival, and was the General Manager for Armitage Gone! Dance. He served multiple years on the National Endowment for the Arts dance panel and the Jadin Wong Award panel presented by the Asian American Arts Alliance. He serves on the International Council for the Parsons Dance Company, the Advisory Board of Dance Magazine, and was a 2020 New York Public Library Jerome Robbins Dance Division Research Fellow. His next project, the “Ballet des Porcelaines,” will premiere at the Metropolitan Museum of Art in December 2021.
Public lecture: Monday, November 8, 2021, 7:30 pm, EDRH: The Multiracial Future of the Arts
Final Bow for Yellowface co-founder Phil Chan takes us through a history of orientalism in the Western performing arts, and explains why preserving a Eurocentric view of “exotic” people and places on our stages isn’t doing us any favors when serving a multiracial audience. How do we navigate conversations around race and tradition in art? How do we depict other cultures on stage without cultural appropriation? How do we become more inclusive and find new ways to innovate while upholding the traditions that are the foundation of our art forms?
The Cassatt String Quartet was formed in 1985 and was chosen the first quartet for Juilliard’s Young Artists Quartet Program. Acclaimed as one of America’s outstanding ensembles, the Manhattan based Cassatt String Quartet has performed throughout North America, Europe, and the Far East, with appearances in London for the Sapphire Jubilee Celebration of Queen Elizabeth II, the Beijing Modern Music Festival, New York’s Alice Tully Hall and Weill Recital Hall at Carnegie Hall, the Tanglewood Music Theater, the Kennedy Center and Library of Congress in Washington, DC, the Theatre des Champs – in Paris and Maeda Hall in Tokyo. The Quartet has been presented on major radio stations such as National Public Radio’s Performance Today, Boston’s WGBH, New York’s WQXR and WNYC, and on Canada’s CBC Radio and Radio France. The Cassatt has recorded for the Koch, Naxos, New World, Point, CRI, Tzadik and Albany labels and is named for the celebrated American impressionist painter Mary Cassatt.
Lydia Artymiw is Emerita Distinguished McKnight Professor of Piano at the University of Minnesota in Minneapolis where she taught from 1989- 2020. The recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Prize, Philadelphia-born Lydia Artymiw has performed with over one hundred orchestras world-wide including the Boston Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Minnesota Orchestra, San Francisco Symphony, Pittsburgh Symphony, Detroit Symphony, LA Philharmonic, Cincinnati Symphony, St. Luke’s Chamber Orchestra, and the St. Paul Chamber Orchestra.
Thursday, November 11, 2021
School of Music Convocation, 1:00-1:50 pm, EDRH
Piano Master Class with Lydia Artymiw, 2:00-3:30 pm, EDRH
Composition Seminar with Victoria Bond, 5:30-6:30 pm, LH 145
Public performance on Wednesday, November 10, 2021, 7:30, Indiana History Center: 19th Amendment Centennial Plus One
Culture Clash is a performance troupe that currently comprises writer-comedians Richard Montoya, Ric Salinas, and Herbert Sigüenza. Their work is of a satirical nature.
Culture Clash was founded on May 5, 1984 at the Galería de la Raza in San Francisco’s Mission District, by the writers José Antonio Burciaga, Marga Gómez, Monica Palacios, Richard Montoya, Ric Salinas, and Herbert Siguenza. The founding date is significant due to the importance of Cinco de Mayo to Mexican-Americans, the shared ethnicity of the majority of collaborators. Montoya and Sigüenza had both been involved in the Chicano art scene in the San Francisco Bay Area, Montoya being the son of Chicano poet, artist, and activist José Montoya, and Sigüenza having been involved in the art collective La Raza Graphics, which created works of graphic art to support campaigns of the Chicano Movement.
Culture Clash’s works range from comedic sketches to full-length plays and screenplays, all of which feature political satire and social satire. The troupe’s members have appeared separately and together in several films and received numerous awards, commissions and grants. In 1993 they filmed 30 episodes of a sketch comedy television series, also called Culture Clash. Several episodes were aired on Fox affiliates. In 2006 they premiered two new full-length plays, the comedy Zorro in Hell and “SF: The Mexican Bus Mission Tour with CC!” Their works have been collected in two volumes, Culture Clash: Life, Death and Revolutionary Comedy and Culture Clash in AmeriCCa: Four Plays. Their papers are housed at the California State University, Northridge (CSUN) Oviatt Library Special Collections and Archives
Public performance: Wednesday, January 12, 2022, 7:30 pm, Schrott
Residency Activities TBA
Rooted in the African-American experience, the Dayton Contemporary Dance Company is a culturally diverse contemporary dance company committed to reaching the broadest audience though exceptional performance and arts-integrated education. Dayton Contemporary Dance Company was founded in 1968 to create performance opportunities for dancers of color. Five decades later, the 10th largest modern contemporary dance company in the nation remains rooted in the African-American experience and committed to the development of diverse movement artists on the global stage.
A co-recipient of one of the dance world’s highest honors, the 2016 Bessie Award for Outstanding Revival, DCDC has been presented by American Dance Festival, Paul Taylor American Modern Dance, and Jacob’s Pillow Dance Festival, and supported by National Endowment for the Arts and New England Foundation for the Arts among others.
Public performance: Friday, February 4, 2022, 7:30 pm, Schrott
Residency Activities TBA
Julie W. Tourtillotte is a Professor of Art and Chair of the Art Department at Saint Mary’s College in Notre Dame, Indiana where she teaches drawing, fibers, and video art. Julie received her MFA from Cranbrook Academy of Art and BFA from Saint Mary’s College and has exhibited her art work throughout the United States, including Stark Gallery in Phoenix, Arizona, Kent State University Art Gallery, Indianapolis Museum of Art, and The National Museum for Women in the Arts in Washington, D.C. She has received Indiana Arts Commission and National Endowment for the Arts grants in recognition of her work which incorporates natural dyes, handmade felt, shibori resist dyeing, screen printing, and embroidery. Julie and her family maintain 20 organic acres and an art studio adjacent to Potato Creek State Park in South Bend, Indiana.
Public lecture: Monday, February 28, 2022, 7:30 pm, EDRH: Growing Color: Natural Dyes and Sustainable Textiles
Workshops with art students TBD
Exhibition: March 1-3, 2022: Growing Color, with reception on Wednesday, March 2, 5:00-6:30 pm, JC Annex
ALASH are masters of Tuvan throat singing (xöömei), a remarkable technique for singing multiple pitches at the same time. What distinguishes this gifted trio from earlier generations of Tuvan throat singers is the subtle infusion of modern influences into their traditional music. One can find complex harmonies, western instruments, and contemporary song forms in Alash’s music, but its overall sound and spirit remain decidedly Tuvan.
Trained in traditional Tuvan music since childhood, the Alash musicians studied at Kyzyl Arts College just as Tuva was beginning to open up to the West. They formed a traditional ensemble and won multiple awards for traditional throat singing in international xöömei competitions, both as an ensemble and as individuals. At the same time, they paid close attention to new trends coming out of the West. They have borrowed new ideas that mesh well with the sound and feel of traditional Tuvan music, but they have never sacrificed the integrity of their own heritage in an effort to make their music more hip.
Alash first toured the U.S. under the sponsorship of the Open World Leadership program of the Library of Congress and the National Endowment for the Arts. Since then they have returned many times, to the delight of American audiences. The Washington Post described their music as “utterly stunning,” quipping that after the performance “audience members picked their jaws up off the floor.”
Alash enjoys collaborating with musicians of all stripes. Since their early partnership with the legendary Sun Ra Arkestra, they have joined forces with musicians across the spectrum—from country to classical to jazz to beatboxing. Alash appeared as guest artists on Béla Fleck & the Flecktones’ Grammy-winning holiday CD Jingle All the Way (2008). They joined Chicago’s innovative Fifth House Ensemble in a groundbreaking concert series called Sonic Meditations. Most recently, they were part of the “global jam band” which recorded the soundtrack for the videogame The Pathless.
Beyond performing, Alash has a passion for teaching and promoting understanding between cultures. Their tours often include workshops in which they introduce Tuvan music to students in primary, middle and high schools, colleges, universities, and music conservatories. Children as young as 8 and 9 have learned to throat-sing. As one student exclaimed, “Alash opened my eyes to a whole new world!”
Alash albums: Alash Live at the Enchanted Garden (2006), Alash (2007), Buura (2011), Achai (2015, re-released on Smithsonian Folkways in 2017), and Meni Mana (2020, digital only). The members of Alash are:
Bady-Dorzhu Ondar: vocals, igil, guitar. Kyzyl Arts College, East Siberia State Academy of Culture and Art. Best soloist, 2005 All-Russian Festival of traditional ensembles and orchestras. Best in Maxim Dakpai xöömei competition, 2006. People’s Xöömeizhi, 2007. Grand prize, International Xöömei Symposium, 2008.
Ayan-ool Sam: vocals, doshpuluur, igil, guitar. Republic School of the Arts, Kyzyl Arts College, Moscow State Pedagogical University. First prize, International Xöömei Symposium, 2008. People’s Xöömeizhi, 2015.
Ayan Shirizhik: vocals, kengirge, shyngyrash, shoor, murgu, xomus. Kyzyl Arts College, East Siberia State Academy of Culture and Art. Second prize, International Xöömei Symposium, 2008. Distinguished Artist of Tuva, 2009.
Sean Quirk: interpreter and manager. Studied music in Tuva on a Fulbright fellowship. Distinguished Artist of Tuva, 2008.
Public performance: Thursday, March 17, 7:30 pm, Schrott
Wednesday, March 16, 12:30-1:50 pm: Workshop with Butler choral students
Wednesday, March 16: time TBD: Meet with a class of arts administration students
Thursday, March 17, 1:00-1:50 pm: School of Music Convocation
LaToya Ruby Frazier was born in 1982 in Braddock, Pennsylvania. Her artistic practice spans a range of media, including photography, video, performance, installation art and books, and centers on the nexus of social justice, cultural change, and commentary on the American experience. In various interconnected bodies of work, Frazier uses collaborative storytelling with the people who appear in her artwork to address topics of industrialism, Rust Belt revitalization, environmental justice, access to healthcare, access to clean water, Workers’ Rights, Human Rights, family, and communal history. This builds on her commitment to the legacy of 1930s social documentary work and 1960s and ’70s conceptual photography that address urgent social and political issues of everyday life.
Frazier’s work has been the subject of numerous solo exhibitions at institutions in the US and Europe, including the Brooklyn Museum of Art; Seattle Art Museum; The Institute of Contemporary Art in Boston; Contemporary Art Museum, Houston; Musée des Arts Contemporains, Grand-Hornu, Belgium; CAPC Musée d’Art Contemporain de Bordeaux, France; Carré d’Art – musée d’art contemporain de Nîmes, France; The Silver Eye Center for Photography, Pittsburgh; The August Wilson Center, Pittsburgh; The Frost Art Museum, Miami; The Musée d’art Moderne, Luxembourg; and The Newcomb Museum at Tulane University, New Orleans.
In 2015, her first book about how she, her mother and grandmother survived environmental racism in historic steel mill town Braddock Pennsylvania, The Notion of Family (Aperture, 2014) received the International Center for Photography Infinity Award. In 2017 Frazier published And From The Coaltips A Tree Will Rise which expanded on her collaboration with a historic coalmining village in Borinage Belgium at Musée des Arts Contemporains, Grand-Hornu, Belgium. In 2020 Frazier received the Kraszna-Krausz Photography Book Award for her eponymous book published by Mousse publishing and MUDAM Luxembourg, which expanded on her exhibition at Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean and that same year Frazier published The Last Cruze, which expanded upon a 2019 exhibition at the Renaissance Society about her collaboration with autoworkers in historic labor union UAW Local 1112 in Lordstown, OH. That same year, Frazier was named the inaugural recipient of the Gordon Parks Foundation/Steidl Book prize for her book Flint Is Family In Three Acts about how working-class families survived the man-made water crisis in Flint, Michigan.
Her work is held in numerous public collections, including The Museum of Modern Art, New York; The Studio Museum in Harlem; Brooklyn Museum; The Bronx Museum of the Arts; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Carnegie Museum of Art, Pittsburgh; Museum of Contemporary Art Chicago; The Baltimore Museum of Art; Los Angeles County Museum of Art; J. Paul Getty Museum, Los Angeles; Lucas Museum of Narrative Art, Los Angeles; Seattle Art Museum; Dallas Art Museum; Art Gallery of Ontario in Toronto; Nasher Museum of Art; Princeton Art Museum; Library of Congress, Washington, D.C.; Centre Georges Pompidou, Paris; and many others.
Frazier is the recipient of many honors and awards including an Honorary Doctorate of Humane Letters from Edinboro University (2019); an Honorary Doctorate of Fine Arts from Pratt Institute (2017); fellowships from the John D. and Catherine T. MacArthur Foundation’s MacArthur Fellows Program (2015), TED Fellows (2015), and the John Simon Guggenheim Memorial Foundation (2014); and the Gwendolyn Knight & Jacob Lawrence Prize from the Seattle Art Museum (2013). In 2015, the Allegheny County Council, Pennsylvania, awarded Frazier a Proclamation thanking her for “examining race, class, gender and citizenship in our society and inspiring a vision for the future that offers inclusion, equity and justice to all.”
LaToya Ruby Frazier is an Associate Professor of Photography at the School of the Art Institute of Chicago, where she currently lives and works. She is represented by Gladstone Gallery in New York City and Brussels Belgium, and Sant’Andrea de Scaphis in Rome.
Public lecture: Monday, March 21, 2022, 7:30 pm, Schrott
Workshop with art students: Monday, March 21, 2022, 2:30-4:30 pm, JC Annex
Zenetta Drew joined Dallas Black Dance Theatre in 1987 and has seen the company develop from an annual operating budget of $175,000 to over $4.9 million. The company’s yearly services have grown from 30 to over 600 with national and international venues, and audience growth has increased from 20,000 to 150,000 annually. To date, the company has performed in 31 states, 15 countries and on 5 continents and at two Cultural Olympiads.
Prior to joining DBDT, Ms. Drew’s professional background included 11 years of accounting and management experience at ARCO Oil and Gas Co. During this time, she held ten positions of increasing management responsibility. Most notable were her assignments managing offshore oil platform projects in the Gulf of Mexico and as Oil Revenue accounting manager where she was responsible for 50% of corporate revenue.
Ms. Drew has previously served on more than 40 arts organization boards/advisory boards/committees that include Americans for the Arts and SMU/Data Arts and previously served as Board Treasurer for the Cultural Data Project and Treasurer for the Dallas Development Fund. Ms. Drew is a graduate of The National Arts Strategies-Chief Executive Program and is currently Vice-Chair of the Dallas Arts District, a Board member with the Dallas Symphony Orchestra, and held a position of Adjunct Professor for three years in SMU’s M.A./M.B.A. Arts Management Program where she taught Strategic Planning in the Arts.
A 2016 Distinguished Alumna from Texas A&M University–Commerce, she also received the 2016 Influential Leaders Award from the Association to Advance Collegiate Schools of Business. She was awarded the 2016 Obelisk Award for Outstanding Leadership Arts Alumnus from the Business Council for the Arts and the 2017 International Association of Blacks in Dance-Excellence in Arts Management Award, and the 2018 Dallas Historical Society Arts Leadership Award. Ms. Drew was also named to DCEO Dallas500 as “One of the Most Powerful Businesses Leaders in Dallas-Fort Worth.” Most recently, she has received Dance/USA’s 2021 Ernie Award and was a nominee for The William Dawson Award – Association of Performing Arts Professionals.
Ms. Drew was the commencement speaker for TAMU-Commerce in August 2014. She has guest lectured on fundraising, accounting, ethics and arts leadership at SMU, TAMU-Commerce, and Syracuse University. Ms. Drew also held a position of Adjunct Professor in SMU’s M.A./M.B.A. Arts Management Program for three years.
Ms. Drew is a graduate of Leadership Arts (1989), Leadership Dallas (1991), Leadership Texas (2010), and Leadership International (2013). She holds a B.B.A. in Accounting from Texas A&M University-Commerce, a Management Certificate in Non-Profit Leadership from Brookhaven College. Ms. Drew is a graduate from the National Arts Strategies Executive Leadership Program at Harvard Business School (2016) and the University of Michigan-Ross School of Business (2017).
Public lecture: Thursday, March 24, 2022, 7:30 pm, EDRH: DEI:Change! Change! Change!
Classes with arts administration students TBD
John Clayton is a natural born multitasker. The multiple roles in which he excels — composer, arranger, conductor, producer, educator, and yes, extraordinary bassist — garner him a number of challenging assignments and commissions. With a Grammy on his shelf and nine additional nominations, artists such as Diana Krall, Paul McCartney, Regina Carter, Dee Dee Bridgewater, Gladys Knight, Queen Latifah, and Charles Aznavour vie for a spot on his crowded calendar.
He began his bass career in elementary school playing in strings class, junior orchestra, high school jazz band, orchestra, and soul/R&B groups. In 1969, at the age of 16, he enrolled in bassist Ray Brown’s jazz class at UCLA, beginning a close relationship that lasted more than three decades. After graduating from Indiana University’s School of Music with a degree in bass performance in 1975, he toured with the Monty Alexander Trio (1975-77), the Count Basie Orchestra (1977-79), and settled in as principal bassist with the Amsterdam Philharmonic Orchestra in Amsterdam, Netherlands (1980-85). He was also a bass instructor at The Royal Conservatory, The Hague, Holland from 1980-83.
In 1985 he returned to California, co-founded the Clayton-Hamilton Jazz Orchestra in 1986, rekindled The Clayton Brothers Quintet, and taught part-time bass at Cal State Long Beach, UCLA and USC. In 1988 he joined the faculty of the University of Southern California Thornton School of Music, where he taught until 2009. Now, in addition to individual clinics, workshops, and private students as schedule permits, John also directs the educational components associated with Centrum, The Port Townsend Jazz Festival, and Vail Jazz Workshop.
Career highlights include arranging the ‘Star Spangled Banner” for Whitney Houston’s performance at Super Bowl 1990 (the recording went platinum), playing bass on Paul McCartney’s CD “Kisses On The Bottom,” arranging and playing bass with Yo-Yo Ma and Friends on “Songs of Joy and Peace,” and arranging playing and conducting the CD “Charles Aznavour With the Clayton-Hamilton Jazz Orchestra,” and numerous recordings with Diana Krall, the Clayton Brothers, the Clayton-Hamilton Jazz, Orchestra, Milt Jackson, Monty Alexander and many others.
In 2013 John launched a new album series titled The John Clayton Parlor Series – a collection of rare duo collaborations with musical friends, released through ArtistShare. Those recordings include a release with his son Gerald which has already been released, and yet to be released recordings with Mulgrew Miller and Hank Jones.
Public performance: Thursday, April 7, 7:30 pm, Schrott
Wednesday, April 6, 2022
Time and location TBA – bass master class
5:00-8:00 pm – Rehearsal with the Butler University Jazz Ensemble, LH 112
Thursday, April 7, 2022
10:30 am-noon – Jazz Improvisation master class, room TBA
1:00-1:50 pm – School of Music Convocation, LH 112
7:30 pm – Performance with the Butler University Jazz Ensemble, Schrott Center for the Arts