2019/2020 SEASON

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CONTRA-TIEMPO & Las CafeterasjoyUS justUSThursday, November 21, 20197:30 pm

CONTRA-TIEMPO & Las CafeterasjoyUS justUS

Thursday, November 21, 2019, at 7:30 pmHancher Auditorium, The University of Iowa

Artistic Director's Note“I believe it is the freedom that we are longing for, which will never be given to us, which we have to create, the pulsing life force of the collective body we are birthing, the rhythm of a shared heart”

—from emergent strategy, by adrienne maree brown

Thank you for being here tonight as we continue to share and grow joyUS justUS, which is in no way a neutral piece of art, but a call to action. This work is a radical celebration of our humanity, an honoring of the feminine, a passionate battle cry for our rising collective consciousness, and a calling for connection. We are asking you to be a part of our movement to choose joy, to stand for justice, and to vibrate together in love. The development of this work has required us as an organization to engage in the deep work of liberation. The creative process that had us arrive at what you are experiencing tonight was a profound experiment in building community and collaboration. What happens when we fail miserably, find ourselves living and uplifting the very systems of oppression that we are attempting to dismantle, pick up the pieces, and continue to boldly spiral upward? Life is messy. Living our values is messy. Art making is a complete mess—yet, when we are able to let go of needing to be the one, and make space for being truly present with the elements (Earth, Water, Fire, and Air) and with one another, magic is possible.

In our field, dancers are often asked by choreographers to generate movement, to author sections of work, and then are never given credit for the intense work it takes to devise material. As an act of resistance, we are shifting that—part of this work was to deeply articulate the collective US—as in we. Every single performer was asked to generate material to make this work be an authentic embodiment of this US. The company generated movement phrases, song ideas, rhythms, poetry, text, spiritual practices, and entire movement sections. Many of the pieces were workshopped and shared in Choreographic Labs, in South LA, where we got feedback from community members and folks shared their stories in council, informing our perceptions of joy, justice, love, and family. The sounds used are from my sons crying and laughing, company laugh fests, sabor sessions, undercover recordings of the rehearsal process, candid conversations about our families, sharing song ideas on our phones, protests from LA, Mexico, and Brazil, and the powerful vibration of Las Cafeteras and their embodiment of joy as a super power. Many of our original collaborators and company members have moved on, and we continue to feel their presence through their creative contributions. Each city we visit, we connect with a cast of community members who join us onstage, embodying several parts of the piece to bring a meaningful connection to the local vibration of each new space we occupy! Iowa City is a special place for us, as the University of Iowa is the alma mater of our company member, Bianca Medina. As this work is performed and tours for the next several years, it will/we will continue to grow and include more voices, ideas, and rising spirit into the collective US. And so we ask you: Are you willing to rise?

With joy,Ana Maria AlvarezFounding Artistic Director

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EVENT PARTNERS

Ed and Ann Lorson

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joyUS justUSConceived and Directed by

Ana Maria Alvarez

Choreographed by Ana Maria Alvarez, Isis Avalos, Christopher Cuenza,

Jannet Galdamez, Samad Raheem Guerra, Bianca Medina, Jasmine Stanley, Diana Toledo, Shantel Ureña

Performed by CONTRA-TIEMPO

Charlie Dando, Jannet Galdamez, Bianca Medina, Ruby Morales, Dalphe Morantus, Jasmine Stanley, Diana Toledo

Performed by LAS CAFETERAS

Jose Guadalupe Cruz Cano, Denise Carlos, MSW, Hector Paul Flores, Daniel Joel Jesus French,

Jorge Mijangos, Xocoyotzin Moraza

Text written byBear Fox: Ionkwanoronhkwa Ohneka or the Water Song

Samad Raheem Guerra: Water Creation Story, Court Scene, Reframing Justice, Miranda Rights to HappinessDiana Toledo: joyUS Thanksgiving Address, Mama Rueda Story

Isis Avalos: Miranda Rights to HappinessAna Maria Alvarez: joyUS Thanksgiving Address,

Luca Story, Justice Run, Miranda Rights to HappinessAngela Davis: Justice Run

Sound archiving and design byD. Sabela Grimes

Original music byD. Sabela Grimes, Samad Raheem Guerra, Bear Fox,

and Las Cafeteras

Music sampled and inspired byBukom Mashie by Oscar Sulley & The Uhuru Dance Band

The Tendencies That Work Against Being Free - Interview with MoojiToro Mata (Afro-Peruvian Lamento Negro)

Baiana (CloZee Remix) by BarbatuquesLa Diaspora by Nitty Scott, featuring Zap Mama

This Land by Woody Guthrie

Lighting design byTuce Yasak

Visual design / Altar Quilts byEmily Orling

Costume design byCharlese Antoinette

Dramaturgy and theatrical support byDaniel Penilla

Community castAdebayo Oladele-Ajose, Jeremy Cline,

Grace Czechowicz, Laila J. Franklin, Alicia Freiburg, Raud Kashef, Cheyanne Kurth, Nick Mendoza

joyUS justUS will have one 15 minute intermission.

The audience is invited onto stage following the performance for 30 minute community dance with Las Cafeteras playing live.

Onstage capacity will be limited.

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Play now. Play for life.

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• Band• Orchestra• Percussion• Piano • Guitar• Music Therapy• Lessons • Repair

CEDAR FALLS • CEDAR RAPIDS • CORALVILLE • DECORAHDES MOINES PIANO GALLERY • DUBUQUE • QUAD CITIES

CONTRA-TIEMPO Staff

Founding Artistic DirectorAna Maria Alvarez

Managing DirectorJessica Amaya

Rehearsal DirectorJannet Galdamez

Technical DirectorTuce Yasak

Tour & Production ManagerMaximiliano Urruzmendi

Community Engagement SpecialistJasmine Stanley

Social Media SpecialistBianca Medina

Administrative AssistantYuzu Ikeue

CONTRA-TIEMPO Board of DirectorsDawn Comer

Sarah CulbersonTanya Finks

Jonathan LoweCasondra Ruga

Vivian RodriguezFrancisca Sanchez

Special Thanks to Our Supporters & PartnersjoyUS justUS could not be created without the generous support of the following: The James Irvine Foundation, Doris Duke Foundation/DanceUSA, New England Foundation for the Arts, Mapfund, University of Southern California, Carpenter Performing Arts Center, Shenandoah University in Virginia, Adrienne Arsht Center for the Performing Arts in Miami, National Association of Latino Arts and Culture, California Arts Council, Los Angeles County Arts Commission, L.A. Department of Cultural Affairs, and Ordway Center for the Performing Arts. Special thanks to Community Coalition who we partnered with during the creation of joyUS justUS and continue to work with. Gracias to our community who contributes our ongoing work, for a complete list or to contribute visit contra-tiempo.org.

For booking information, contact

Lotus Arts ManagementSophie Myrtil-McCourty, President

7211 Austin Street, Suite 371Forest Hills NY 11375-5354

(347) 721-8724sophie@lotusartsmgmt.com

lotusartsmgmt.com

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CONTRA-TIEMPO URBAN LATIN DANCE THEATER is a bold, multilingual Los Angeles-based dance company creating physically intense and politically astute performance work that moves audiences to imagine what is possible. They create a new physical, visual, and sonic vocabulary that collages Salsa, Afro-Cuban, hip-hop, and contemporary dance with theater, text, and original music to bring dynamic multi-modal experiences to the concert stage. CONTRA-TIEMPO takes an uncompromisingly radical approach to the ways in which artists function within communities and create their work. They intentionally engage diverse audiences, cultivate dancer leaders, and center stories not traditionally heard on the concert stage, using their engagement process to inform and continuously re-fuel their creative process, and vice-versa.

Much like the communities they reach, CONTRA-TIEMPO is itself a tapestry. The company members are professional dancers, artists, immigrants, educators, activists, organizers, and movers of all types, living and working across Los Angeles and across the country. Each company member lives, expresses, and struggles within the varied and infinitely complex political and personal landscapes that Artistic Director, Ana Maria Alvarez seeks to address through the company’s work.

For more information about working directly with the company through CONTRA-TIEMPO’s Futuro Summer Intensive, please contact contra-tiempo.org.

About the Artists

Photo: ©Steve Wylie8

About the ArtistsANA MARIA ALVAREZ (Founding Artistic Director) is a Cuban-American choreographer, raised in the South, known for her daring, multidimensional, and boundary blurring choreography and innovative vision and leadership in the field. Her graduate thesis work, which explored the abstraction of “Latin Dance,” specifically Salsa as a way to express social resistance within the U.S. immigration battle, eventually became the impetus for founding CONTRA-TIEMPO in 2005. Training: UCLA Department of World Arts & Cultures, MFA in choreography; Oberlin College, BA in dance and politics; Cutumba Baile Foklorico de Santiago de Cuba; Urban Bush Women; and North Carolina A & T State University/E. Gwynn Dancers with Dr. Elenor Gwynn, Katherine Dunham’s technique. Credits include John Michael Kohler Arts Center Artist in Residence for Dreamscapes: Connecting Communities (2019–2020), DanceUSA Artist Fellow (2019), Peiter DanceMaker Awardee (2019), Artist in Residence BiNational Arts Residency (AZ/Mexico 2018), NYU Playwrights Horizons (NYC) for production of Noise (2017, 2018), Sarasota Contemporary Dance Company Commission (2018), Music Center Moves After Dark, LA, CA (2017), UCLA Center for the Art of Performance, Agua Furiosa (2016), IPAY Kindling/Fresh Tracks (Dusseldorf, Germany 2015), Cornerstone Theater and Homeboy Industries (2012) for production of Café Vida, Full Still Hungry (2010), I Dream America (2007), and Against the Times (2005).

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Steve RoeExecutive Director

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EMILY ALVAREZ-ORLING (Visual Designer, Altar Quilts) is a visual artist and designer with a background in painting, sculpture, and installation. Her most recent work was on the musical Futurity, which won the 2016 Lortel award for outstanding musical and earned Orling a Lortel and Drama Desk nomination for the set design. Recent set and costume design: Futurity (Soho Rep/Ars Nova; A.R.T.; Walker Art Center; MASS MoCA) Set design: Futurity (HERE, Zipper Factory) Costume design: The Universe is a Small Hat (Babycastles, Sarah Lawrence College); Full Still Hungry for CONTRA-TIEMPO Urban Latin Dance Theater (DanceMotion USA, National and International Touring). Solo exhibitions: Lo River Arts Gallery, 473 Broadway Gallery, Dactyl Gallery. Group Exhibitions: Cal State Fullerton, Corridor Gallery.

CHARLESE ANTOINETTE (Costume Designer) lives and works between New York, Los Angeles, and New Orleans. She is a multifaceted designer specializing in costume design, jewelry design, and wardrobe styling. She was born and raised in the suburbs of D.C., was educated in fashion and design in the "illadelph" city of brotherly love, and has travelled as far as Tokyo for inspiration. She has costume designed for television and film with work that has premiered at Sundance, the TriBeCa Film Fest, and SXSW. Her jewelry designs have been worn by Beyoncé and Zoë Kravitz and have been featured in Rihanna’s music videos. Her work is influenced by endless people-watching, her love for the energy of New York City, the natural landscape of Los Angeles, art, architecture, her travels, cultural fashion trends, the ancestors & Orisha...and a never- ending pursuit of happiness.

JOSE GUADALUPE CRUZ CANO (Drums, Cajon) is the second born child of immigrant parents from Jalisco, Mexico. Jose was born and raised in Oxnard, CA. He first started playing music in the middle school concert band. His first drum kit came in high school after watching some friends play at a family party and it has been all about holding down the beat ever since. Afrobeat, reggae, funk, R&B are some of his main rhythm and drumming influences. Jose holds a bachelor’s degree in mechanical engineering from California State University, Los Angeles. Soon after college he started several businesses and worked as a freelance design engineer before dedicating himself to music full time. Sustainable living, the Dharma, biking, swimming in the ocean, running, boxing, community, art, and culture are among some of his passions. Follow Jose @canosonico

DENISE CARLOS, MSW (Vocals, Jarana Primera, Zapateado, Glockenspiel) grew up in the Huntington Park neighborhood of South East L.A. with her older sister and parents. Her father is from Mexicali, Baja California, and her mother from Amacueca, Jalisco, and immigrated to the U.S. in the 1970s to work and raise their family. One of Denise’s nicknames growing up was “Diantre,” meaning “little devil” in Spanish. Speaking mostly in double-entendres, she is known for her silly humor and comedic nature. Denise holds a master’s degree in clinical social work with an emphasis on women and children from Loyola University, Chicago, and she works on the daily to help develop critical thought around community feminisms, sexuality, and self-love. She has been dancing folklorico for over half her life! When she is not with Las Cafeteras, you will find Denise zapateando with Ballet Folklórico de Los Angeles. Two of Denise’s favorite life teachings are “Que Viva La Vida” and “Dance as if nobody is watching.” Follow Denise @niecey_cat

CHARLIE DANDO (Performer, Dancer) is a house dancer from the front range area of Denver. Dance found Charlie at a preteen club night, where he won numerous youth battles. In 2006, Charlie was a founding member

About the Artists

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of a BBoy choreography crew called Break EFX, they pioneered their community forward, winning many awards, battles, and competitions. Break EFX appeared on the fifth season of America's Best Dance Crew (ABDC). In 2014, Dando moved to LA and started working with Tiffany Bong at UniverSoul Hip Hop, teaching House and Club Dance history to thousands of students a year throughout the LA area. Today, Dando is an active member of the local House community as well as he teaches and battles internationally. Dando is honored to represent House and Hip-Hop Culture in CONTRA-TIEMPO’s joyUS justUS. Training: Motion Underground, Boulder, CO, BBoy crew GWT, Mop Top/Elite Force crew, Gary Kendall of the Jabbawockeez, Calef Sellers of Dance Fusion and Moncel Durden The Phili House Dance pioneer whom Dando lovingly calls "Dancestor," BFA in dance, University of Colorado Boulder. Credits: Rennie Harris Puremovement, Rite of Spring adaption, Heaven (2009).

HECTOR PAUL FLORES (Vocals, Jarana Tercera, Zapateado) was born in City Terrace, and grew up in the Pan-Asian–Chicano neighborhoods of San Gabriel Valley and East LA. The oldest of six kids, his mom is from Morelia, Michoacán, and his pops is from San Luis Rio Colorado, Sonora. Growing up Hector listened to Al Green, Ana Gabriel, La Sonora Dinamita, Tupac, The Cure, The Smiths, Red Hot Chili Peppers, and Rage Against The Machine. He graduated from California State University, Long Beach, with a degree in Chicana/o Studies and worked as an organizer for ten years in New Jersey, South LA, East Los Angeles. Hector loves playing anti-imperialist soccer where the score is always 2-2, dancing Cumbia, watching documentaries, going to a Dodger game, eating at new veggie-friendly restaurants, sneaking into movie theatres, and writing poetry. Follow Hector @chuchumbe

DANIEL JOEL JESUS FRENCH (Vocals, Jarana Segunda, Keys) hails from the San Gabriel Valley (east of East LA) and is the youngest of three siblings. Daniel strums the jarana segunda, sings, MCs, and keys. In the summer of 2011, he drove across the continent documenting his family stories and is very proud of his Chicano, Mexican, Fronterizo, Mohawk, German, Italian, French, English, and beyond backgrounds. He is passionate about oral histories, music, and freestyling, and he works as a full-time musician and storyteller. He most recently graduated from Azusa Pacific University with a B.A. in sociology. He lives by this motto “Risk everything to live your dreams and know that mysterious forces will come to your aid.” Follow Daniel @frenchismexican

JANNET GALDAMEZ (Rehearsal Director, Dancer) was born and raised in Los Angeles, CA. When not touring, performing, and rehearsal directing with CONTRA-TIEMPO, Jannet is currently touring around the U.S. with Spanish guitarist, Roni Benise’s Emmy-award winning World Music & Dance Spectacular. You can catch Jannet teaching Salsa, Afro-Latin Jazz, and Dance Fitness classes throughout Los Angeles—loving, inspiring, planting seeds through her artistry and always grounded with the beat of a drum. Training: bachelor of arts in dance from the University of California, Irvine (2012), Sheron Wray (Jazz), Afro-Cuban Master Kati Hernandez. Credits: Paula Abdul (Check Yourself AVON PSA music video), Spanish Rock Band Mana (music video La Prision), Prince Royce (music video La Moneda), Ozomatli (music video Read to the Rhythm and 2015 Playboy Jazz Festival at the Hollywood Bowl), Keaira LaShae’s Dance Fitness Series, Maite Perroni Beorlegui, El Dasa, Luis Coronel, Chiquis Rivera, La Sonora Santanera from Mexico City, L.A.-based Cuban roots band Changüí Majadero, and Chicano band Las Cafeteras. Promo cast of the On Your Feet! Broadway musical, 2017 Dutch Musical Awards in Amsterdam, The Best of Broadway ABA Conference in Cleveland, Ohio.

About the Artists

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D. SABELA GRIMES (Music and Sound Designer), a 2014 United States Artists Rockefeller Fellow, is a choreographer, writer, composer, and educator. Described by the Los Angeles Times as “the Los Angeles dance world’s best-kept secret” and as “one of a mere handful of artists who make up the vanguard of hip-hop fusion,” grimes is considered one of the most imaginative and innovative artists in his field. He created and continues to cultivate a movement system called Funkamentals that focuses on the methodical dance training and community building elements evident in Black vernacular and Street dance forms. Training: University of California, Los Angeles (BA in English; MFA in dance and choreography). Credits include: World War WhatEver, 40 Acres and A Microchip, BulletProof Deli, ELECTROGYNOUS, Rome and Jewels (Rennie Harris Puremovement).

SAMAD RAHEEM GUERRA (Music and Text) is a multidisciplinary performing artist and arts educator based in Los Angeles. In addition to his work with the company, he has performed at the Hollywood Bowl and Ford Amphitheater with Viver Brasil and Sérgio Mendes, and co-produced his own work at the Los Angeles County Museum of Art and the Main Museum in downtown Los Angeles. Samad most recently moved back to the Bay Area in the fall of 2019 and anticipates attending graduate school in 2020. Training: UCLA Department of World Arts & Cultures (BA), CONTRA-TIEMPO Futuro, Afro-Cuban Master Kati Hernandez. Credits with CONTRA-TIEMPO: Full Still Hungry (national tours), Agua Furiosa (national and international tours).

BIANCA MEDINA (Dancer, Social Media Specialist) is a Puerto Rican and Mexican Chicago native interested in exploring the essence of divine (her)stories and ritualistic (re)remembering that lives in the female body through a resiliently grounded and lush expression with recent solo work in progress, El Fuego de Agua. Training: University of Iowa (BFA), CONTRA-TIEMPO Futuro, Vera Passos, travels to Bahia with CONTRA-TIEMPO: Full Still Hungry (USC Visions & Voices), Agua Furiosa (national and international tour). Other performance credits include, company member of Viver Brasil, Disneyland California Adventure Park Viva Navidad Parade, Sergio Mendez at the Hollywood Bowl, Las Cafeteras, No(one) Art House at The Getty Museum, Samantha Blake Goodman, Ijo Emi, Vera Passos, Marina Magalhaes.

JORGE MIJANGOS (Bass) is a multi-instrumentalist, master Son Jarocho musician and luthier. Born in San Cristobal de Las Casas, Chiapas, Mexico, Jorge began playing music at the age of five. He has since performed throughout the Americas at esteemed venues such as The Walt Disney Concert Hall, Santa Barbara Bowl, and the NHCC. He currently lives in Ventura, CA, with his wife and newborn son where he teaches youth music and builds custom Son Jarocho musical instruments.

RUBY MORALES (Apprentice, Dancer) is a dance artist and poet currently investigating culturally informed teaching methods as well as her relationship with movement as a b-girl and Mexican influenced cumbia Sonidera. In October 2019, she premiered a new work called Breaking Pachanga. Training: Arizona State University (BFA), CONTRA-TIEMPO Futuro, Urban Bush Women Summer Leadership Institute, PISAB's Undoing Racism Training, breaking from b-boy House, Ervin Arana, and b-boy Stuntman as well as hip-hop philosophy and theory with b-boy YNOT. Performance Credits: Other performances include current work in progress with Liz Lerman for upcoming premier of Wicked Bodies, solo work Café con Leche at the BlakTinx Dance Festival, Safos Dance Theatre, and Tucson-based artist Yvonne Montoya.

About the Artists

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DALPHE MORANTUS (Apprentice, Dancer) is dancer and teacher of groove dance styles including House, Latin, Hip-hop, and Dancehall. He guides students to better understand the groove by working deeply with isolations and creating performance work that embodies grooves at its core. Training: Broadway Dance Center, Monsters of Hip-Hop, CONTRA-TIEMPO Futuro. Performance Credits: The Victoria's Secrets Show with Justin Bieber, Essence Festival with No Doubt, No Strings Attached (movie), Enchanted (movie).

XOCOYOTZIN MORAZA (pronounced Sho-ko-yot-seen) (Requinto Jarocho) is a multi instrumental musician, born and raised in Southern California. He is a native of the city of Ventura, CA. Xocoyotzin has been studying, researching, and performing a musical genre known as Son Jarocho for 32 years. He specializes in the performance of the Requinto Jarocho, the Veracruz harp, and the jarana jarocha, beginning at the age of five-years old. Moraza comes from a family of musicians, including his father whom is a harpist and a harp and string maker. Their ensemble is called Conjunto Alma Grande de la familia Moraza, and they have been performing regional Mexican music for nearly 45 years. Xocoyotzin is a graduate of UCLA with a degree in ethnomusicology and is regarded as a master of the Son Jarocho musical genre, having studied and performed with some of the best in the world. He is currently a member of Conjunto Jarocho Zacamandú, under the direction of Master Tomas Herrera, and is also the harpist for his group, Rey Fresco. Rey Fresco has shared the stage with such acts as Nas, Damian Marley, Ziggy Marley, the Flaming Lips, Tame Impala, Toots and the Maytals, Jack Johnson, Incubus, Modest Mouse, Taj Mahal, Los Lobos, Sistema Bomb, Ozomatli, Lenny Castro, and La Mata, and many others. Xocoyotzin has toured nationally and internationally, and will be graciously performing with Las Cafeteras on the Requinto Jarocho.

JASMINE STANLEY (Dancer, Performer, Community Engagement Specialist) first learned about CONTRA-TIEMPO in school, and she became curious about their mission and movement. After moving to Los Angeles in the summer of 2017, she attended the CONTRA-TIEMPO Futuro Summer Dance Intensive where she saw her own personal values and mission align. In July 2018, she was invited to apprentice with the company; September 2018, Stanley was asked to join CONTRA-TIEMPO as a company member; and in 2019, she was asked to take the position of Community Engagement Specialist. Through this role, Stanly co-directed CONTRA-TIEMPO’s very first Summer Artivist Leadership Institute in South LA. Training: Columbia College in South Carolina (BFA), CONTRA-TIEMPO Futuro. Credits: Performed with Stevie Wonder live at the Special Olympics World Games (Debbie Allen 2015), Unveiled Dance Company at the Journey Out Awareness Festival to support the movement to end human sex trafficking (2017).

DIANA TOLEDO (Dancer, Singer, Performer, Co-Director of Futuro), known as just Toledo, was born and raised in Los Angeles, California, and began her journey with dance informally with street styles such as Salsa and baile funk. Toledo was pursuing a degree in forensic psychology when an elective modern dance class made her realize that dance was her true passion. Stepping out on faith, she decided to become a dance major and pursue dance full time. Toledo auditioned for CONTRA-TIEMPO in 2010 and became an apprentice for the company for the next 18 months, training rigorously in all dance forms and participating in CONTRA-TIEMPO Futuro’s Summer Dance Intensive for two consecutive years. In 2012, she was invited to join the professional company. This was almost a decade ago. This fall, Toledo will be leaving the company to finish her undergraduate degree and continue her education as a powerful

About the Artists

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artivist. Training: CONTRA-TIEMPO Futuro. El Camino College Credits, with CONTRA-TIEMPO: Full Still Hungry (national tours), DanceMotion USA (Bolivia, Ecuador, and Chile tour), Agua Furiosa (national and international tours).

TUCE YASAK (Lighting and Visual Designer) graduated from the Department of Industrial Design at Middle East Technical University in Turkey in 2004. She designs for dance, theater, and concerts. She is interested in site-specific performances and light installations. Credits include: The Decay of the Cities (NOLA Fringe Festival with Enthusiast Theater Company), LAMP (New Haven and MassBliss Festival), and Gutai Card Box (Solomon R Guggenheim Museum, NYC). She has been collaborating with choreographer Korhan Basaran since 2011 in both NYC and Istanbul (Gatherings, Untitled, RAu, d r t, 2.RAu, Unfold, Unsettled). She has also collaborated with Vicky Araico, actress and playwright from Mexico City, on her solo show Juana in a Million. She has been a creative collaborator to choreographer Raja Feather Kelly of the feath3r theory in his recent works, including Color Me Warhol in April 2015 and 37 Other Reasons to Cry in October 2015. Most recently she began working with choreographer Marjani Forté and won a Bessie for her visual design in the piece Memoirs of a…Unicorn.

About the Artists

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César Pelli (1926–2019)

Hancher architect and friendCésar Pelli was a brilliant architect, and it was truly an honor to have him design the current Hancher Auditorium. We were even more honored to call him our friend.

That friendship begin immediately after Pelli Clark Pelli Architects was selected to design a new Hancher Auditorium following the destruction of the original building by the flooding of 2008. César felt a personal connection to Hancher’s work, and he made sure to connect with members of the staff and the University of Iowa community to ensure his ideas honored Hancher’s past and elevate its future. At his firm’s offices in New Haven, Connecticut, he devoted an entire room to the project, and he was always happy to share his thoughts about the building with visitors.

César was delighted by the beautiful setting—often commenting that it was the most gorgeous site for which he had designed a building—and he was committed to making the most of the space. He brought the indoors and the outdoors together in the lobby spaces and rehearsal room and designed an exceptional performance space.

His joy for the project was palpable from beginning to end. He came to Iowa City for the major milestones of the project, including our Site Ceremony connecting the original Hancher to the new, our Leave Your Mark beam signing (after which he joined hundreds of construction works on the as-yet-unfinished stage for lunch), and our Gala Opening. On opening night, César took the stage with Hancher Executive Director Chuck Swanson to launch a new era for Hancher. We’ll always remember his words that night: “Hancher was built with love.”

We are saddened to lose our friend. We are blessed to have the opportunity to serve our campus and community in a building that will always stand as a tribute to César.

Above: César Pelli at the opening night of the Hancher Auditorium, 2016 (Photo: BIll Adams)Opposite page photos: scale model of Hancher Auditorium at Pelli Clark Pelli offices in New Haven, 2012; Hancher Executive Director Chuck Swanson (seated) looks at scale model while César Pelli (holding glass) looks on from behind, 2012; Pelli and the rest of the Pelli Clark Pelli team in front of Hancher during the Leave Your Mark event, 2014, (Photo: Miriam Alarcón Avila); Pelli and Swanson in 2016 (Photo: Bill Adams); Pelli and Swanson at opening night of the new Hancher Auditorium, 2016 (Photo: Bill Adams); exterior of Hancher Auditorium (Jeff Goldberg/Esto).

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The Vision for Hancher Auditorium: Inauguration toward a Different FutureThis is the second in a series of essays about Virgil Hancher and his vision for the arts in general, and Hancher Auditorium in particular, at the University of Iowa. The essays will appear in playbills throughout this season and will be available on the Hancher website, as well.

By Daniel Boscaljon

Virgil Hancher was inaugurated as president of the State University of Iowa on May 24, 1941, taking over the role from a retiring Eugene Gilmore. The weather that day was “fair and warmer” for the general public and over 280 delegates from educational institutions around the country. The Daily Iowan’s coverage of the event took more space than stories about the war—the British gains in the Battle of Crete and a discussion of ways to defeat the fascist forces that took the form of Nazism, although coverage of the inauguration was contextualized by speakers demanding—and also decrying—U.S. entry into WWII.

The threat of fascism and violence seemingly influenced the program for Hancher’s inauguration as well. Rather than business as usual, the inauguration was preceded and framed by an education conference featuring three keynote addresses anchored on the theme “Education for the Future.” The concern uniting the speakers was the role that education could play toward a more thoughtful culture and community. The presence of Hancher Auditorium seems to address the concerns and challenges offered by the invited speakers.

Edwin R. Embree looked at the strengths of the State University of Iowa and discussed the need to train humanologists:

Upon the fine foundations of your Institute of Child Research, your experimental education, your already notable researches in psychology and social sciences, I urge you to build a program devoted to the study of man and his society. Leave to others the triumphs in natural science and mechanical invention and concentrate on the science of man.

Embree’s comments reflect an emphasis on “experimental education” and the thought that tax-supported institutions should not duplicate services to its students. This legislative philosophy would consume much of Hancher’s time in office during his tenure in an effort to prove how the offerings of SUI (now the University of Iowa) were unique. As an example: because UNI was already using resources to train teachers, Iowa’s education program emphasized educational theory.

The meaning of this potential at Iowa was set even more clearly in the other inaugural speech, offered by Lee Sieg, the then president of the University

Coverage of Hancher's inauguration dominated the front page of The Daily Iowan, May 24, 1941.

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of Washington Seattle (and Hancher’s freshman physics instructor during his undergraduate years):

I do believe that our curricula should continue those topics that can serve humanity. We institutions of higher learning owe that to the public which supports us. Education should not be selfish...The well-trained engineer can help humanity by designing a new type of dam; but the poet can equally serve his fellows by bringing beauty into their lives.

Sieg continued:

...but the whole university, from the youngest freshman to the senior professor, must be shot through with faith in creative thinking, else the university shall cease at once. There may have been a time, indeed there was, when universities were solely the conservers of learning.…Teaching what? Teaching facts of yesterday, then, later, facts of day before yesterday? Whence did those facts arise? I trust I have made it clear that I am talking, today, about creative thinking.

Although the value of this approach to education won’t likely surprise those who are based in the fine arts, the increasingly pragmatic emphasis on education with a corresponding focus on acquiring a degree makes this opinion seem incredibly out of vogue. At the same time, if anything, the passage of time should make this argument even more prescient. Interdisciplinary influences have been shown, time and time again, to demonstrate how critical and creative thinking share similar sources of inspiration. Assuming that students are curious, the promise of the liberal arts education, in fact, is this kind of curious blend—where young students can form kinds of connections in growing minds that would be impossible within a siloed career. Beauty becomes an important ally in the war against fascism.

Problematically, instead, educational systems still seem stuck on an emphasis on compliance, obedience, and memorization as ways to produce qualitative proof of learning. The need for efficient learning seems essential in a society where jobs are scarce and student debt becomes a crippling problem. This makes the conservative approach to education seem prudent, if not necessary.

Nonetheless, the potential that Sieg saw in Iowa remains present, and Hancher Auditorium’s programming provides the opportunity for students to see performances from world-class acts that would otherwise have little reason to come to the state. The ability to see a variety of features provides students with an ingredient within their education that inspires creative thinking. As long as Hancher Auditorium continues to invite the world to its stage, promoting an expansive vision for what art is and how art remains crucial to the human experience, Iowa will continue to produce humanologists well-versed in critical and creative thinking.

Daniel Boscaljon is a longtime contributor to arts writing in the ICR, often providing interviews, reviews, and essays on aesthetics for Little Village and The Englert as well as for Hancher. An independent scholar, teacher, and arts critic, he is committed to inviting others to incorporate wisdom and joy as part of everyday life. In addition to teaching workshops and holding free public conversations in the area, Daniel also has three current ventures including the Center for Humanist Inquiries (professional consultations), Coffee with Dan (spiritual direction and philosophical life coaching), and The Thoughtful Life (a non-profit venture that includes his "Making Space for Yourself" podcast). You can find his writing and more information about his services at danielboscaljon.com.

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We thank our 2019/2020 Partners for their unwavering loyalty and crucial support. Their generosity enables us to bring the world’s finest performing artists to our region.

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SHORTEN YOUR WAIT AT THE STANLEY CAFÉ!Now you can order refreshments online before you arrive at Hancher Auditorium.

We’ll have dedicated staff members ready to quickly fill your order—and you can order your beverage and snacks for intermission when you pick up your refreshments.

As an added bonus, for every $10 you spend when you preorder, we’ll give you $1 in Chuck’s Bucks!

Chuck’s Bucks—named for Hancher Executive Director Chuck Swanson—are redeemable during Thursday Nights at Hancher for non-alcoholic purchases.

apps.housing.uiowa.edu/hancher_preorder

The Hancher Showcase offers unique items perfect for gifts—or for yourself! All proceeds support Hancher’s educational programs.

HOLIDAY HOURSNovember 5–December 19, 2019

The Hancher Showcase is open:one hour before performances, during intermission, and after.

Wednesdays10:00 am to 1:00 pm

Thursdays 5:00 to 7:30 pm

Holidays* Tuesday-Thursday10:00 am-1:00 pm*November 5–7, 12–14, and 19–21;

December 3–5, 10–12, and 17–19

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