Thursday, June 13 at 7:00 and 9:00 p.m. Friday, June 14 at 7:30 and 9:30 p.m. saTurday, June 15 at 7:30 and 9:30 p.m.

The InvIsIble Dog ArT CenTer

N e w s p e a kFrederic rzewski

Rebecca LazieRComing TogeTher/AT T i C A

Coming TogeTher/ATTiCA was developed with support from the Movement Research Artist Residency Project and funded in part by the Leonard and Sophie Davis Fund, the Canada Council for the Arts, Live Art Dance Productions and Scotia Festival of Music. These performances are made possible by grants from the Puffin Foundation, the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc., New Music USA’s 2013 Live Music for Dance Program and Princeton University’s Peter B. Lewis Center for the Arts, Committee on Research in the Humanities and Social Sciences and the Program in Dance.

Funding has been made possible by the Puffin Foundation.

Frederic Rzewski studied music with Charles Mackey, Walter Piston, Roger Sessions and Milton Babbitt in the United States. In 1960 he traveled to Italy to study with Luigi Dallapiccola. There he met Severino Gazzelloni, with whom he played in a number of concerts that marked the beginning of his career as a performer of new piano music. Rzewski’s early friendship with Christian Wolff and David Behrman, and (through Wolff ) his acquaintance with John Cage and David Tudor strongly influenced his development in both composition and performance. In Rome in the mid-sixties, together with Alvin Curran and Richard Teitelbaum, he formed the MEV (Musica Elettronica Viva) group, which quickly became known for its pioneering work in live electronics and improvisation.  Many of Rzewski’s works are inspired by secular and socio-historical themes, show a deep political conscience and feature improvisational elements. Some of his better-known works include: The People United Will Never Be Defeated! (36 variations on the Sergio Ortega song El pueblo unido jamás será vencido); a set of virtuosic piano variations written as a companion piece to Beethoven’s Diabelli Variations; North American Ballads; Night Crossing with herman; Fougues; Fantasia and Sonata; The Price of Oil and Le Silence des Espaces Infinis. Recently he composed Nanosonatas (2007) and the Cadenza con o senza Beethoven (2003), written for Beethoven’s Fourth Piano Concerto. Since 1977 Rzewski has been Professor of Composition at the Conservatoire Royal de Musique in Liege, Belgium. He has also taught at the Yale School of Music, the University of Cincinnati, the State University of New York at Buffalo, the California Institute of the Arts, the University of California at San Diego, Mills College, the Royal Conservatory of the Hague, the Hochschule der Kuenste in Berlin and the Hochschule fuer Musik in Karlsruhe. 

Choreography by Rebecca Lazier in collaboration with the dancersMusic: Frederic Rzewski, Coming Together and Attica (Coming Together Part 2) 1971Performed by: Newspeak

Part I – Coming TogetherPart II – SilencePart III – Attica

Dancers: Asli Bulbul, Pierre Guilbault, Jennifer Lafferty, Rashaun Mitchell, Christopher Ralph and Silas Riener

Music performed by Newspeak: Mellissa Hughes, voice; James Johnston, keyboard; Taylor Levine, guitar; David T. Little, drums; Eileen Mack, clarinets; Peter Wise, percussion; and special guests: Robert Burkhart, cello and Patti Kilroy, violin.

Lighting design: Davison ScandrettCostume design: Mary Jo Mecca

House Manager: Katy DammersWebsite Design: Melissa FoxEditor: Sydney SchiffProgram and Postcard Designer: Peter Wise at Square Candy DesignSound Engineer: Tei BlowPublicity: Steven Swartz at DotdotdotmusicPhotography: Anna Finke

Rehearsed at the New 42nd Street Studios, Gibney Dance Center and Mark Morris Dance Center.

No unauthorized photography or videotaping

Coming TogeTher/ATTiCA

Coming Together was written in November and December of 1971 in response to a historical event, the Attica Prison Riots. In September of that year, inmates of the state prison in Attica, New York revolted and took control of a part of the institution. Foremost among their demands was the recognition of their right “to be treated as human beings.” After several days of fruitless negotiations, Governor Nelson Rockefeller ordered state police to retake the prison by force, on the grounds that the lives of the guards whom the prisoners had taken as hostages were in danger. In the ensuing violence, forty-three persons, including several of the hostages, were killed and many more wounded. One of the dead was Sam Melville, a prisoner who had played a significant role in organizing the rebellion.

In the spring of 1971, Melville wrote a letter to a friend describing his experience of the passage of time in prison. After his death the letter was published in the magazine, Ramparts. As I read it, I was impressed both by the poetic quality of the text and by its cryptic irony. I read it, reread it and reread it again. It seemed that I was trying both to capture a sense of the physical presence of the writer and simultaneously to unlock a hidden meaning from the simple but ambiguous language. The act of reading and rereading finally led me to the idea of a musical treatment. The text is as follows:

“I think the combination of age and a greater coming together is responsible for the speed of the passing time. It’s six months now, and I can tell you truthfully few periods in my life have passed so quickly. I am in excellent physical and emotional health. There are doubtless subtle surprises ahead, but I feel secure and ready. As lovers will contrast their emotions in times of crises, so am I dealing with my environment. In the indifferent brutality, the incessant noise, the experimental chemistry of food, the ravings of lost hysterical men, I can act with clarity and meaning. I am deliberate, sometimes even calculating, seldom employing histrionics expect as a test of the reactions of others. I read much, exercise, talk to guards and inmates, feeling for the inevitable direction of my life.”

Attica, subtitled Coming Together Part II, was originally intended to follow Coming Together after a short silence, so that the two pieces together would form a pair of dark and light images on the same subject. In this case, it is a survivor of the event who speaks: Richard X. Clark, a prisoner who was freed on parole several weeks after the massacre. As the car taking him to Buffalo passed the Attica town line, the reporter sitting next to him asked how it felt to leave Attica behind him. His answer, “Attica is in front of me,” became the text for this piece.

The compositional techniques employed in both pieces are similar. The

Frederic rzewski: notes on Coming Together and Attica

photo by Anna Finke

basic device for the generation of melodic and rhythmic sequences is “squaring,” a form I first used in 1968 in Les Moutons de Panurge, for an indeterminate number of melody instruments. In this technique, a sequence of notes, measures, or phrases is gradually accumulated by adding elements one at a time, then diminished by subtraction. In Coming Together, seven pitches are used to generate eight triangular structures of 28 notes. Each of these melodic sequences is then “squared” to become either large sections of 28x28=784 notes. The resulting chain of 6272 notes is played by one

or two instruments of the ensemble, while the others add only individual notes or melodic fragments from time to time, according to rules specific to each section. Only in the final section do all of the players join in playing all of the notes. In Attica, a 28-beat melody is divided into four bars of seven beats, each of which is “squared” to become the period of 49 beats. The four periods are then themselves “squared” to become a sequence of sixteen periods. These are played over a constant drone, with a long dominant chord at the end.

–As published in the score.

B i o g r a p h i e sAsli Bulbul came to New York from Istanbul, Turkey in 1997. After an apprenticeship with Tanztheater Wuppertal/Pina Bausch in 2000, she joined Bill.T.Jones/Arnie Zane Dance Co. in 2001. Between 2001-2010, she took part in the creation of eight original productions and danced in numerous repertory pieces performed in the US and internationally. Since then, she has worked with Martha Clarke, Jennifer Nugent, Rebecca Lazier, Bill Young/Colleen Thomas & Co. and RoseAnne Spradlin. She has also collaborated with Nu Dance Theater on a site-specific project Dorian C, which was adapted to a short film and selected to be part of Cannes Film Festival’s Short Film Corner. She recently taught at Bard College and Princeton University and teaches technique classes at Movement Research in NYC. She recently joined the NYC-based experimental theater group Nature Theater of Oklahoma where she has been busy discovering her inner actor/singer.

Cellist Robert Burkhart has performed previously with the New York Symphonic Ensemble, WQXR’s “Young Artist Showcase,” American Modern Ensemble, Ensemble Pi, Argento Chamber Ensemble, SONYC; The Mannes College of Music and University of Wisconsin-Madison.

Pierre Guilbault recently graduated from the University of North Carolina School of the Arts with a BFA in Dance. New to New York, he started taking workshops with the Cunningham Trust under the direction of Robert Swinston, Sandra Neels, Rashaun Mitchell and Susana Hayman-Chaffey. He has worked

with Mary Siedman and Dancers, John Zullo, Helen Simoneau Danse and Pam Tanowitz. He strives to give back in any way he can. Looking to leave this world full of creation and less of destruction, he is an artist who is working to better himself day by day.

Hailed by The New York Times as “ a versatile, charismatic soprano endowed with brilliant technique and superlative stage instincts…indispensable to New York’s new-music ecosystem” Mellissa Hughes is a dedicated interpreter of living composers, singing world and regional premieres with the American Composers Orchestra, New York City Opera, the Brooklyn Philharmonic, the St. Lawrence String Quartet, JACK Quartet, SIGNAL, Alarm Will Sound, Victoire and of course Newspeak, among other groundbreaking ensembles.  This summer Hughes sings John Zorn’s The Holy Visions at the Lincoln Center Festival, at the Barbican in London, and in Ghent, Warsaw, Jerusalem, Paris and Australia. Hughes also enjoys a busy career in early music, working regularly with the Clarion Music Society and Trinity Wall Street, among others.

James Johnston is an American musician who enjoys an active and varied career as a pianist, keyboardist and arranger. A graduate of The Juilliard School and Yale University, Johnston’s pianism has been called “especially impressive, displaying deft touch” by the Pittsburgh Post Gazette. Recent performance highlights include concerts with the London Sinfonietta and LA Philharmonic as part of Tyondai Braxton’s Central Market, a 100th anniversary performance of Peirrot Lunaire with the Proteus Ensemble as part of the Five Boroughs Music Festival

and performances with the Pittsburgh Symphony Orchestra of Mozart’s Concerto K.453 (with original cadenzas). Johnston is a founding member of Proteus, Newspeak and Electric Kompany and has performed in Carnegie Hall, Alice Tully Hall, Ford Theater, The Library of Congress and Disney Hall among others. Recent collaborators include the Ethel Quartet, Zephyros Winds, Poul Ruders, Jacob TV, David del Tredici and Marc Mellits. He recently completed his Doctoral studies at the Manhattan School of Music and currently lives in New York.

Described as “intensely focused” by The New York Times, Patti Kilroy is a modern-minded violinist based in New York City. Her quartet Cadillac Moon Ensemble has been described as a “commission-crazed young group” (Time Out New York) “with excellent ensemble awareness and phrasing” (The Examiner). She has played with groups Alarm Will Sound, Signal, Argento New Music Project, ensemble mise-en, ETHEL, Wordless Music Orchestra and The New York Pops. She is a doctoral student at NYU where she enjoys playing new music, reading books in the library and studying with Naoko Tanaka. Read more at pattikilroy.com.

Jennifer Lafferty is from southern California, where she studied dance at University of California, Los Angeles and met Rebecca Lazier, with whom she has worked since 2000. Since moving to NYC, she has also performed in the work of Yasuko Yokoshi, Beth Gill, Anna Sperber, Christopher Williams, Michou Szabo, Renee Archibald and Nina

Winthrop. She is currently working on a new piece by Beth Gill.

Rebecca Lazier, a native of Halifax, Nova Scotia and Juilliard alum, is a project-based choreographer who has lived, choreographed and produced her work in Hartford, Los Angeles, Istanbul, and, for the past 13 years, New York. Lazier’s work has been performed in many New York venues including Danspace Project, The Kitchen, the Guggenheim Museum, 92nd Street Y, Joyce SoHo and Movement Research at the Judson Church. She has toured to a variety of locales from Martha’s Vineyard to Los Angeles, Jacob’s Pillow to New Orleans, from Nova Scotia, Canada to Turkey. Recently, Lazier received grants from the Puffin Foundation, New Music USA’s 2013 Live Music for Dance Program, Canada Council on the Arts and the Greater

photo by Anna Finke

I first heard Coming Together and Attica six years ago when a friend sat me down, gave me headphones and told me to listen. I did not know when it was composed, where the text came from, the performer instructions, the compositional techniques, the history of the riots and their significance in American history or of Rzewski’s controversial position in the music world.  Even without this information, I was immediately struck by the music’s combination of structural clarity and emotional power.  I wanted to know how it was made, what made it work and who Frederic Rzewski was.

I had no plans to make a dance with the score and even as I delved into the history and context of the piece, the drive behind my research was purely one of interest. I started playing with Rzewski’s structural rules and restraints in rehearsals. What would choreographic “squaring” be? Could I give similar performance procedures to the dancers? I was interested in how Rzewski translated the experience of reading the text into the form on which he built the piece. Nevertheless, I still had not committed to having the score performed with the choreography; this was experimentation.

It is hard to pinpoint the precise moment when it became necessary for me to realize a performance that combines

rebecca Lazier: notes on the Choreography

New York Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc., She has been artist-in-residence at Movement Research, The Joyce Theater Foundation, The Yard and the Djerassi Resident Artist Program. Rebecca is a Senior Lecturer at Princeton University and has previously been on faculty at UCLA, Wesleyan University, Trinity College, Hartford Ballet/University of Hartford and Mimar Sinan Conservatory is Istanbul, Turkey.

Taylor Levine is a guitarist in the NYC area. He is a founding member of Dither, an electric guitar quartet. In addition, Taylor often performs a variety of composed and improvised music with a wide range of musicians. Some of these include Signal Ensemble, Kronos Quartet, Marc Ribot, Erykah Badu, Tyondai Braxton, Bryce Dessner, Ethel, Bang on a Can, Eighth Blackbird, Blarvuster, Newband, Meredith Monk, Theo Bleckmann, Weasel Walter, Ches Smith, Philip White, Eve Beglarian’s BRIM, New York City Opera, New World Symphony, London Sinfonietta, BBC Orchestra, LA Philharmonic, Wordless Music Orchestra and Newspeak.  Taylor also pursues an active role as an educator. He studied at The Manhattan School of Music and The Amsterdam Conservatory. Taylor currently resides in Brooklyn, where he can often be found building a variety of electronic circuits.

David T. Little is a New York-based composer/drummer whose music fuses classical and popular idioms to dramatic effect.  Widely performed—

including at the Tanglewood, Aspen and Cabrillo Festivals, and by eighth blackbird, Third Coast Percussion, So Percussion, the London Sinfonietta, Brooklyn Philharmonic, Alarm Will Sound and the Baltimore Symphony Orchestra under Marin Alsop—his upcoming projects include new works for the Kronos Quartet, Maya Beiser, Todd Reynolds, wild Up and the Fort Worth Opera.  An active drummer, Little has performed and recorded with the International Contemporary Ensemble (ICE) and Corey Dargel, and performs regularly with his amplified chamber ensemble Newspeak, for which is also the founding Artistic Director.  From 2010-2012 he served as the Executive Director of New York’s MATA Festival.  He is currently the Head of Composition and New Music Coordinator at Shenandoah Conservatory in Winchester, VA.

the music and dance. At first I was afraid a dance would be read narrowly, seen only as representation or an attempted political statement. The more I worked, however, I realized this music is not so much of a piece about a single moment of American history, but a work that continues to reveal relevant abstract and political questions. Although the music was inspired by the riots, Rzewski does not dictate an ideology in the piece, he invites the listener to create his or her own meanings, something I strive to do with my own work.

The two works are rarely performed as Rzewski originally intended: together and separated by a period of silence. I heard Newspeak perform Coming Together in 2008 and their version instantly became my favorite as it combines classical, jazz and rock’n’roll influences and features a female vocalist. I approached David about the possibility of creating an evening length performance and, as they say, the rest is history.

Rzewski’s work brought new perspectives to my experience of isolation and confinement, introduced possibilities for structural invention, motivated me to research the history and current conditions of imprisonment and enabled me to imagine social change. Like Rzewski, I hope the piece resonates in many ways.

i Am grATeFuL to our generous donors whose support is crucial to helping us fill the gap between box office income and grants. A special thank you to: Iris Ashkinos, Emily Jenkins and Daniel Aukin, Elizabeth Blake, John and Sharon DaSilva, Ladan Hamidi-Toosi, William Harman, Jane Harmon, F. William Kaufmann, Barbara and Mark Kronman, Eileen Lafferty, John and Catherine Lazier, James Martin, Martha Eddy and D B Middletown, Lauri Mulvey, Laurent and Kumiko Serog, Joan and Mel Rothman, Rebecca Stenn, Judith and Robert Waldman and Judith and Stanley Zabar.

Please consider donating to this or future projects. The easiest way to donate is online through our website: www.rebeccalazier.com. All of your gifts are tax-deductible as Rebecca is a sponsored artist of The Field*. *Rebecca Lazier is a Sponsored Artist of The Field, a not-for-profit, tax-exempt, 501(c)(3) organization serving the New York City performing arts community. Contributions made to The Field and earmarked for Rebecca Lazier are tax deductible to the extent allowed by law. For more information about The Field contact: The Field, 75 Maiden Lane, Suite 906, New York, NY 10038, (212) 691-6969, fax: (212) 255-2053, www.thefield.org. A copy of The Field’s latest annual report may be obtained, upon request, from The Field or from the Office of the Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271.

For more information go to www.rebeccalazier.com.

I cannot express well enough my gratitude to the dancers and designers. Their tenacity, commitment, dedication and pure excellence continue to exceed my expectations. Their creative contributions and involvement in the process are integral to my work. I would also like to thank the dancers who helped develop material for this work: Hadar Ahuvia, Rommel Salveron, Anna Schon, Paul Singh, Emily Stone, Storme Sundberg and Christopher Williams. Thank you Frederic Rzewski, David T. Little and Newspeak for your vision and key contributions to the production.

Special thanks to: Simon Courchel for inviting us to The Invisible Dog; Lucien Zayan for all of your support and feedback; Steven Swartz for taking a chance on dance; Ariane and Seth Harrison for the generous loan of the body saving floor; Chris Wilcox and the Scotia Festival of Music together with Paul Casky and Gay Hauser from Live Art Dance Productions for giving us the opportunity to perform in Nova Scotia; John and Catherine Lazier for more than lobster dinners; my colleagues at Princeton: Susan Marhsall, Tina Fehlandt, Kristen Arnold, Aynsley Vandenbrouke and Dyane Harvey; the staff at The Field: Shawn René Graham, Cassie Tunick, Chongsi Chang and Liza Wade Green for support grant writing and fundraising; my students who question and provoke; and to friends and family especially Rebecca Stenn, Patricia Hoffbauer, Robert and Judith Waldman and Price, Jasper, Grace and Sylvia.

Clarinetist Eileen Mack grew up in Australia and is now based in New York. She is a sought after new music clarinetist, and regularly performs in the city with the amplified Newspeak Ensemble and the post- minimalist band, Victoire, as well as appearing with groups including Signal Ensemble, Wordless Music Orchestra, Wet Ink, ymusic and the Bang on a Can All Stars. She has worked with composers such as Steve Reich, David Lang and Michael Gordon, with conductors including Oliver Knussen and Pierre Boulez, and has performed in venues around the world including Zankel at Carnegie Hall, the Sydney Opera House, the Amsterdam Concertgebouw and London’s Royal Albert Hall. Eileen has performed as soloist at the Canberra International Chamber Music Festival and the Bang on a Can Marathon, and has been a fellow at the Bang on a Can and Norfolk Chamber Music Festivals.

choreography has been presented in NYC by Danspace Project, Baryshnikov Arts Center, La Mama Moves Festival, Mount Tremper Arts, Skirball Center at NYU and at numerous festivals and universities throughout the East Coast. He is currently on faculty at Tisch School of the Arts and Sarah Lawrence College.

NEWSPEAK, named after the thought-limiting language in George Orwell’s 1984, is a powerhouse ensemble that became an early standout within New York’s “indie-classical” scene.  The current stellar line-up–Caleb Burhans (composer/violin), David T. Little (composer/drums), Mellissa Hughes (voice), Eileen Mack (clarinet), Taylor Levine (guitar), Brian Snow (cello), James Johnston (piano) and Peter Wise (percussion)–began performing together in 2008, and released their first CD with New Amsterdam Records in November 2010, to critical acclaim.  NEWSPEAK has been featured

committed to the music of its time Newspeak has commissioned and premiered work by David T. Little, Caleb Burhans, Corey Dargel, Oscar Bettison, Ted Hearne, Judd Greenstein, Missy Mazzoli and many others. “You could call this punk classical,” Lucid Culture wrote, “fearlessly aware…(and) resolutely defiant.”  New Sounds host John Schafer called them “important players on the new music scene here in New York.”

Christopher Ralph was born and raised in Long Island, N.Y. He began his dance training at Holy Trinity High School, were he worked with Cathy Murphy and James Whore. He also trained at Broadway Dance Center and Steps with Peter Schabel, Dorrit Koppel, Frank Hatchett and Chio Yamada. Since graduating from SUNY Purchase, Christopher has performed with Lauri Stallings, Gregory Dolbashian, Aszure Barton, Janis Brenner, Loni Landon, Patrick Corbin and recently with Doug Varone at the Metropolitan Opera in Les Troyens. Christopher has also toured with a wide range of choreographers to China, Japan, London and Spain.

Silas Riener, originally from Washington, D.C., graduated from Princeton University in 2006 with a degree in Comparative Literature and certificates in Creative Writing and Dance, with a focus on linguistics.  He has worked with Chantal Yzermans, Takehiro Ueyama, Christopher Williams, Jonah Bokaer and Rebecca Lazier and currently with Tere O’Connor. He was a member of the Merce Cunningham Dance Company from 2007-2011 and received a 2012 New York Dance and Performance Award (Bessie) for his performance in Cunningham’s Split Sides. While performing with MCDC, Riener completed his MFA in Dance at NYU’s Tisch School of the Arts (2008). Since 2010, he has collaborated with poet Anne Carson and choreographer Rashaun Mitchell. He has taught at Concord Academy SummerStages, several

universities in Turkey and Princeton University. After choreographing Harrison Atelier‘s Pharmacophore: Architectural Placebo (2011), he presented choreography as part of Atelier’s installation VEAL at the Invisible Dog Art Center.

Davison Scandrett is a Brooklyn-based lighting designer and production manager. Since graduating from the North Carolina School of the Arts (2002) he has supervised lighting and technical production for more than 1000 performances in 46 states and 23 countries. Credits in the dance field include: Sarah Michelson, Miguel Gutierrez, Rashaun Mitchell, Joanna Haigood, Silas Riener, Jennifer Monson, Wendy Whelan, Brian Brooks and Pam Tanowitz.  As Director of Production for the Merce Cunningham Dance Company from 2008-2012, he was instrumental in the planning and execution of the Company’s precedent-setting Legacy Plan as well as numerous landmark collaborations with prominent visual artists, musicians and filmmakers.  Davison designed the lighting for Paris Opera Ballet’s 2012 revival of Cunningham’s Un Jour ou Deux and was the recipient of a Bessie Award (2007) for visual design (with Sarah Michelson and Parker Lutz).

Peter Wise (percussion) grew up playing music in Stockbridge, MA and studied percussion at the Eastman School of Music and SUNY Stony Brook.  Currently based in Hudson, NY and the Berkshires, he plays with an eclectic array of ensembles including Newspeak, Oliphant, JG Thirlwell’s Manorexia and Banana Bag & Bodice. He is one of the co-founding artistic directors of The Berkshire Fringe, a theater, dance and music festival in Great Barrington, MA (www.berkshirefringe.org). Peter is also a founding member of Kickwheel Ensemble Theater, most recently composing music and designing sound for Dark: An End of the World Play with Music and an Exercise Bike.

Newspeak. photo by Stephen Taylor

Mary Jo Mecca designed Rebecca’s Terminal (2009) at the Joyce SoHo and I Just Like This Music and Coming Together/Attica (2012) in Nova Scotia. Additional designs for dance include: Rashaun Mitchell: Interface at BAC and Nox at St. Marks Church, Zvi Gotheiner: Sky and Water (2013) at MUSA! Festival, Barkin/Sellisen Project: Differential Cohomology (2011), Jody Sperling’s Time Lapse Dance (2013), Susan Marshall: Atelier project (2010), Brian Brooks: Landing, Deganit Shemy: Narrowline, Jill Johnson: Folding Articulation, Laura Peterson: Atomic Orbital, Raja Kelly: Basic Instructions Before Leaving Earth and other projects for the Program in Dance at Princeton University. She studied Couture Design with Miss Alice Sapho of Paris and New York. www.mjmecca.com

Rashaun Mitchell graduated from Sarah Lawrence College in 2000 and since then has worked with NYC-based artists including: Chantal Yzermans, Donna Uchizono, Pam Tanowitz, Risa Jaroslow, Sara Rudner, Jonah Bokaer, Richard Colton, Deborah Hay, Rebecca Lazier and Silas Riener. He has received numerous awards: a Princess Grace Award: Dance Fellowship (2007), a New York Dance and Performance “Bessie” Award for sustained achievement in the work of Merce Cunningham 2004-2012 (2011), a Bessie for “Outstanding Emerging Choreographer” and a grant from the Foundation for Contemporary Art (2013). He is a Cunningham Fellow and licensed stager of the repertory. His

as part of the Tune-In Festival with eighth blackbird at the Park Avenue Armory, the Ecstatic Music Festival in NYC, on New Sounds Live and at the International Festival of Arts and Ideas.  They have headlined on the MATA Festival, shared bills with The Fiery Furnaces as part of Wordless Music and performed as part of John Zorn’s Full Force festival.  Actively