Rose Theater,Jazz at Lincoln Center’s Frederick P. Rose Hall

Please make certain all your electronic devicesare switched off.

Babel(words) is made possible in part by endowment support from the American Express CulturalPreservation Fund.

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Wednesday–Thursday, October 26–27, 2016, at 7:30 pm

Babel(words)Sidi Larbi Cherkaoui, ChoreographyDamien Jalet, ChoreographyAntony Gormley, Visual Design

This performance is approximately one hour and 40 minutes long and will be performed without intermission.

Please join the artists for a White Light Lounge immediately following the performance.

(Program continued)

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MetLife is the National Sponsor of Lincoln Center.

Artist Catering provided by Zabar’s and Zabars.com

American Airlines is the Official Airline of LincolnCenter

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Sounds of India Opening Talkwith Mark Morris and Lakshmi VishwanathanThursday, October 27 at 6:15 pm in the Anya andAndrew Shiva Gallery, John Jay College

Sounds of IndiaThursday, October 27 at 7:30 pm in the Gerald W. Lynch Theater at John Jay CollegeBombay Jayashri, vocalsEmbar Kannan, violinV.V. Ramanamurthy, mridangamK.V. Gopalakrishnan, khanjiraAmrit Ramnath, tambura

Sounds of IndiaFriday, October 28 at 7:30 pm; Sunday, October 30at 5:00 pm in the Gerald W. Lynch Theater Kerala Kalamandalam Kathakali TroupeDussasana Vadhom (The Killing of Dussasana)Pre-performance lecture by Lakshmi Vishwanathanon October 28 at 6:15 pm

Sounds of IndiaSaturday, October 29; Thursday, November 3; andSaturday, November 5 at 7:30 pm in the Gerald W. Lynch Theater Mark Morris Dance GroupMark Morris, choreographerMMDG Music EnsembleO RangasayeeSerenadeThe “Tamil Film Songs in Stereo” Pas de DeuxPure Dance Items (World premiere)Pre-performance discussion with Mark Morris onNovember 5 at 6:15 pm

Sounds of IndiaWednesday, November 2; Friday, November 4 at7:30 pm in the Gerald W. Lynch Theater Nrityagram Dance EnsembleSurupa Sen, choreographerNrityagram Music EnsemblePost-performance artist discussion on November 2

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

Visit WhiteLightFestival.org for full festival listings.

Join the conversation: #LCWhiteLight

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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Babel(words)

Sidi Larbi Cherkaoui, ChoreographyDamien Jalet, ChoreographyAntony Gormley, Visual Design

Dancers: Benfury, Christine Leboutte, Darryl E. Woods, Kazutomi “Tsuki”Kozuki, Helder Seabra, Paea Leach, Francis Ducharme, Damien Fournier,Navala “Niku” Chaudhari, Sandra Delgadillo Porcel, Ulrika Kinn Svensson,Aimilios Arapoglou, Sang-Hun Lee

Originally created by: Navala “Niku” Chaudhari, Francis Ducharme, Darryl E. Woods, Jon Filip Fahlstrøm, Damien Fournier, Benfury, PaeaLeach, Christine Leboutte, Ulrika Kinn Svensson, Kazutomi “Tsuki” Kozuki,Moya Michael, James O’Hara, Helder Seabra

Music Composition: Patrizia Bovi, Mahabub Khan, Sattar Khan, Gabriele Miracle, Shogo Yoshii

Music/Vocals: Patrizia Bovi (Harp), Mahabub Khan (Harmonium), Sattar Khan (Tablas, Mridangam, Flute), Gabriele Miracle (Daf, Snare,Dulcimer, Floor Tom), Kazunari Abe (Taiko, Japanese Snare, Flute)

Costumes: Alexandra GilbertLighting design: Adam Carrée

Text: Lou Cope, Vilayanur Ramachandran (TEDx conference, 2010: “Theneurons that shaped civilization”), Nicole Krauss (The History of Love)

For more on the creation of Babel(words), turn to page 28.

—William Stafford, “A Ritual to Read to Each Other” from Ask Me: 100Essential Poems. Copyright © 1960, 2014 by William Stafford and the Estateof William Stafford. Reprinted with the permission of The PermissionsCompany, Inc. on behalf of Graywolf Press, Minneapolis, Minnesota,www.graywolfpress.org.

For poetry comments and suggestions, please writeto programming@LincolnCenter.org.

If you don’t know the kind of person I am and I don’t know the kind of person you are a pattern that others made may prevail in the

world and following the wrong god home we may miss

our star.

For there is many a small betrayal in the mind, a shrug that lets the fragile sequence break sending with shouts the horrible errors of

childhood storming out to play through the broken dike.

And as elephants parade holding eachelephant’s tail,

but if one wanders the circus won’t find thepark,

I call it cruel and maybe the root of all cruelty to know what occurs but not recognize the fact.

And so I appeal to a voice, to somethingshadowy,

a remote important region in all who talk: though we could fool each other, we should

consider—lest the parade of our mutual life get lost in thedark.

For it is important that awake people be awake,or a breaking line may discourage them back to

sleep; the signals we give — yes or no, or maybe —should be clear: the darkness around us is deep.

Illumination

A Ritual to Read to Each Other By William E. Stafford

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Meet the Artists

Sidi Larbi Cherkaoui’s debut as a choreog-rapher came in 1999 with Andrew Wale’smusical Anonymous Society. Since thenhe has created more than 30 full-fledgedchoreographic pieces for theaters andcompanies throughout the world. He hasbeen an associate artist at Sadler’s Wellssince 2008, when he created Sutrawith themonks of the Shaolin Temple. Mr.Cherkaoui’s works have earned him prizesthat include Benois de la Danse, Olivier, andU.K. National Dance Awards. In 2008 and2011 Tanz magazine proclaimed himChoreographer of the Year. He also receivedinternational acclaim for his choreography inJoe Wright’s film Anna Karenina.

Mr. Cherkaoui founded Eastman in 2010,and with the company has created Play,Babel(words) (with Damien Jalet), TeZukA,Puz/zle, 4D, 生长genesis, and Fractus V.Eastman is resident company at deSingelInternational Arts Campus in Antwerp. In2013 Mr. Cherkaoui made Boléro (co-created with Damien Jalet and MarinaAbramovic) for the Paris Opera Ballet andm¡longa for Sadler’s Wells. He directed theopera Shell Shock (with text by Nick Cave)for La Monnaie to commemorate the cen-tenary of World War I. In 2015 he directedPluto for Bunkamura in Tokyo, choreo-graphed a ballet piece on Stravinsky’sFirebird for Stuttgart Ballet, and was move-ment director for Hamlet at the BarbicanTheatre, starring Benedict Cumberbatch.

As artistic director of Royal Ballet ofFlanders, Mr. Cherkaoui has created twocritically acclaimed works: Fall and Pictures

at an Exhibition. He made a new version ofThe Nutcracker earlier this year for ParisOpera Ballet, and also created Qutb (a triofor Natalia Osipova) for Sadler’s Wells and anew version of the opera-ballet Les IndesGalantes for the Munich State Opera. In2016 he was conferred an honorary doctor-ate by University of Antwerp for his contri-bution to contemporary dance.

Choreographer and performer DamienJalet has collaborated frequently with SidiLarbi Cherkaoui, and worked within LesBallets C de la B, Toneelhuis, and Eastman.He and Cherkaoui created d’Avant andBabel(words), which won two OlivierAwards in 2011 and a Prix Benois de laDanse for best choreography. Mr. Jaletalso works regularly with Icelandic choreo-grapher Erna Ómarsdóttir. Together theyhave created works in collaboration withvisual artist Gabriela Fridriksdóttir, includ-ing Transaquania–Out of the Blue, IntoThin Air, and Ofaett. Ómarsdóttir and Mr.Jalet also created Black Marrow for theAustralian company Chunky Move at the2009 Melbourne Festival. He has workedwith such choreographers as Wim Van -dekeybus (The Day of Heaven and Hell)and Akram Khan (for whom he devised asolo segment in DESH).

Across disciplines, Mr. Jalet has workedwith visual artists Antony Gormley(Babel(words)) and Jim Hodges (at NewYork’s Gladstone Gallery) and with musi-cians Lady and Bird on the choreography ofthe opera Red Waters (Opera de Rouen).He choreographed music videos for OlofArnalds, Florence and the Machine, andEditors. He has also collaborated with pho-tographer Nick Knight and designer

Sidi LarbiCherkaoui

Damien Jalet

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Bernhard Willhelm, philosopher GiorgioAgemben, and contemporary musicianStefano Scodanibio.

In 2013 Mr. Jalet directed the choreo-graphic installation Les Médusés at theLouvre, with the participation of more than30 artists from different disciplines. He alsoco-created a new version of Ravel’s Boléro,with Cherkaoui and performance artistMarina Abramovic, for Paris Opera Ballet.The costumes were designed byGivenchy’s artistic director Riccardo Tisciand the cast included dancers AurélieDupont, Marie Agnès Gillot, and JérémieBélingard. Mr. Jalet is a member ofFrance’s Ordre des Arts et des Lettres.

Antony GormleyAntony Gormley is widely acclaimed for hissculptures, installations, and public art-works that investigate the relationship ofthe human body to space. His work hasdeveloped the potential opened up bysculpture since the 1960s through a criticalengagement with both his own body andthose of others in a way that confronts fun-damental questions of where humanbeings stand in relation to nature and thecosmos. Mr. Gormley continually tries toidentify the space of art as a place ofbecoming where new behaviors, thoughts,and feelings can arise.

His work has been widely exhibited inter-nationally, with exhibitions at Forte diBelvedere, Florence (2015); Zentrum PaulKlee, Bern (2014); Centro Cultural Bancodo Brasil (2012); Deichtorhallen, Hamburg(2012); the State Hermitage Museum, St.Petersburg (2011); Kunsthaus Bregenz,Austria (2010); Hayward Gallery, London(2007); and Malmö Konsthall, Sweden(1993). He has also participated in majorgroup shows such as the Venice Biennaleand Documenta 8. Permanent public worksinclude Angel of the North (Gateshead,England), Another Place (Crosby Beach,England), Inside Australia (Lake Ballard,Western Australia), Exposure (Lelystad, the

Netherlands), and Chord (MassachusettsInstitute of Technology).

Mr. Gormley was awarded the Turner Prizein 1994, the South Bank Prize for Visual Artin 1999, the Bernhard Heiliger Award forSculpture in 2007, the Obayashi Prize in2012, and the Praemium Imperiale in 2013.In 1997 he was made an officer of theBritish Empire (OBE) and was made a knightin the New Year’s Honors list in 2014. He isan honorary fellow of the Royal Institute ofBritish Architects, an honorary doctor of theUniversity of Cambridge, and a fellow ofTrinity and Jesus Colleges, Cambridge. Mr.Gormley has been a Royal Academiciansince 2003. He was born in London in 1950.

DANCERS

BenfuryMoroccan-born Benfury started developinghis own break-dance technique in Brussels.He first mixed break-dance and contempo-rary dance with Hush Hush Hush in K’darand 2Pack. As part of the Dynamics team,he won the Benelux Competition 2001 andother awards in Europe. He taught in Spainat the International Workshop of Con -temporary Dance, and instructed Rosasdance company in Bitches Brew. He cre-ated and performed Il Colore Bianco withdirector Giorgio Barberio Corsetti for the2006 Cultural Olympics in Turin. He collab-orated on Siegfried Forever and Bayreuthfm by Wooshing Machine and co-createdLeopoldo, produced by Charleroi Danses.Benfury began working with Sidi LarbiCherkaoui in 2010 on the creation ofBabel(words). He founded the group MadSpirit, which performs throughout Europe,often improvising with jazz-funk bands.

Christine LeboutteA native of Brussels, Christine Lebouttegot her diploma in cultural theater/anima-tion in 1982 at INSAS in Brussels. She wastrained in classical singing by Paule Daloze.In 1991 she met Giovanna Marini and sang four of her works: Oresteia, La bague

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magique, Le Journal d’Eve, and Theoreme.With the Corsican group A Cumpagnia sherecorded the Missa Defunctorum byEvelyne Andreani (1997). She also workedwith Créahm and Bruxelles Babel 2000, anart festival for children. Since 2000 she hasworked with choreographer Sidi LarbiCherkaoui, performing in Foi, TempusFugit, Myth, and Babel(words).

Darryl E. WoodsNashville native Darryl E. Woods trained atFlorence School of Ballet in Alabama, andcontinued his training at Ballet Alabamaunder the direction of Dame Sonia Arova.In New York, Mr. Woods attended ArthurMitchell’s Dance Theatre of Harlem, AlvinAiley American Dance Theater, andSteps@74th, where he performed in TheNut cracker and the Metropolitan Operaproduction of Porgy and Bess. He madehis European debut in Duke Ellington’sSophisticated Ladies, and met Sidi LarbiCherkaoui in Europe while collaborating onthe Alain Platel production Iets op Bach.Cherkaoui recruited him to the cast of Foi,Myth, and Babel(words). Mr. Woods has also performed in many television andfilm projects.

Kazutomi “Tsuki” KozukiKazutomi “Tsuki” Kozuki started workingin 2004 as a dancer for Baby-Q DanceCompany. He auditioned for Belgian direc-tor Jan Fabre, who selected him forRequiem for a Metamorphosis. In 2008Sidi Larbi Cherkaoui invited Mr. Kozuki tothe European tour of Origine, during whichhe occasionally joined Sutra, working withthe Chinese monks of the Shaolin Temple.He also worked with Vladimir Ivanoff’sEnsemble Sarband, performing in AIMSGraz in Austria. He danced in Japanesechoreographer Kaori Ito’s Noctiluque, andin 2008 joined Cherkaoui’s project at LaCité nationale de l’histoire de l’immigrationhonoring the memories of immigrants inFrance. He also assisted Cherkaoui duringthe creation of Dunas. Mr. Kozuki joinedEastman in 2010.

Helder SeabraHelder Seabra studied dance at GinasianoDance School in Portugal and P.A.R.T.S. inBrussels. He was involved in projects withPedro Carvalho, Ronit Zivú CompanhiaInstável, and Javier de Frutosú CompanhiaInstável. In 2004 he joined Ultima Vez forthe revival of Les porteuses de mauvaisesnouvelles and was a member of the com-pany until 2008. Since then, he has createdFica Aqui, IMAGO for Companhia Instávelin Portugal, and Rendez-vous with VictorHugo Pontes. He collaborated on the videodance Macla with Inês Cerqueira andJoaquim Carvalho, Bruno Caverna’sMindscaping, and Sidi Larbi Cherkaoui’sDunas. Mr. Seabra joined Eastman in 2010.In 2012 he assisted Cherkaoui onAutomaton at Pilobolus Dance Theater inNew York. He also develops his own work.

Paea LeachPaea Leach is a dancer, writer, and choreo-grapher. She trained in Perth, Australia,where she earned her bachelor of artsdegree in dance, followed by an honorsdegree. She has worked extensivelythroughout Australia in both dance and the-ater as an independent artist and with thecompanies Chunky Move (Melbourne),Australian Dance Theatre (Adelaide), andPVC (Germany). Ms. Leach has taught anddanced at the Western Australian Academyof Performing Arts in Perth, as well as inMelbourne, Adelaide, Berlin, and in Finland.

Francis DucharmeFrancis Ducharme graduated as an actorfrom Collège Lionel-Groulx in Montreal. Hestarted his career on three fronts: theater,dance, and cinema. He performed in Unpeu de tendresse bordel de merde and La Pornographie des âmes, which touredworldwide. Mr. Ducharme also dances in Gravel Art Group, directed by FrédéricGravel, who mixes contemporary danceand rock music. In Montreal, Mr.Ducharme has acted in more than a dozentheater pieces directed by ClaudePoissant, Alice Ronfard, Serge Denon -

court, and Lorraine Pintale, and in Canadianmovies such as Les signes viteaux, LaCapture, and C.R.A.Z.Y.

Damien FournierAt the age of 13, Damien Fournier fell inlove with the circus and began circusschool in Toulouse, later training at theNational Center for Circus Arts in Châlons-en-Champagne. While there, he wasdrawn to artists such as Guy Alloucherieand Josef Nadj. He left the circus worldafter an injury and decided to dedicate him-self to contemporary dance. He hasworked with Alloucherie, Giorgio BarberioCorsetti, Kitsou Dubois, and Josef Nadj,and discovered Sidi Larbi Cherkaoui inAlain Platel’s Iets op Bach. In 2006 hejoined Cherkaoui on Myth. With Eastman,Mr. Fournier has served as assistant chore-ographer, rehearsal director, and dancer inSutra; danced in Babel(words), Puz/zle, 4D,M¡longa; and participated in the movieAnna Karenina. He is passionate aboutwidening the vocabulary of dance throughdiverse sources such as sign language andpersonal narratives.

Navala “Niku” ChaudhariNavala “Niku” Chaudhari was born inLondon in 1981 and began her training inShaolin kung fu in 1989. She then com-pleted her professional dance training atthe Northern School of ContemporaryDance in the U.K., graduating in 2002.Professionally she has worked with AndréGingras, Bawren Tavaziva, ShobanaJeyasingh, Akram Khan, Union Dance, andSidi Larbi Cherkaoui, among others. From2006 to 2010 she worked with CompanyDecalage as co-director and has collabo-rated on Appel and Breaking Point. In 2009she made Amaranthine with Kevin EdwardTurner and was awarded a scholarship todevelop her own work. In 2010 she joinedEastman and Sidi Larbi Cherkaoui with thecreation of Babel(words). Since then, Ms.Chaudhari has danced and taught interna-tionally for the company. She appears inthe film Anna Karenina, and is involved in

the Eastman productions Puz/zle and 4D.

Sandra Delgadillo PorcelDuring the first year of her training, SandraDelgadillo Porcel toured with Ultima Vez asa substitute. At school she met choreogra-pher Sidi Larbi Cherkaoui, with whom shewould later collaborate. Ms. Porcel gradu-ated from Dansstages HID in Lier, Belgiumin 2004. Since then, she has worked withAmgod and has put on her own projectsfor Villanella and fABULEUS. Ms. Porcelhas been influenced by capoeira in Brazil,reggae in Jamaica, break-dancing in NewYork, the culture of her native Bolivia, andsalsa in Cuba. She teaches and leads work-shops for Musica in Belgium.

Ulrika Kinn Svensson Ulrika Kinn Svensson was born in Swedenin 1980. She studied dance in Falkenberg,Sweden, then continued with studies injazz and contemporary dance at FontysDance Academy in Holland. As an actressand dancer, she performed and touredextensively with companies such as LiquidLoft (Austria) and TRASH (Holland).Babel(words) is the third work she takespart in under the direction of Sidi LarbiCherkaoui after performing in Foi andMyth. In 2009 Ms. Svensson created theduet Sometimes It’s There with Koen DePreter. She is currently artistic advisor ofthe Dance Academy of the Tilburg FontysHogeschool in the Netherlands.

Aimilios ArapoglouBorn in Athens, Aimilios Arapoglou is agraduate of the University of Piraeus inGreece. In 2011 he completed his studiesat Greek National School of Dance, andsince 2008 he has worked with Greekdance companies and performed interna-tionally, including at the 2011 Aerowavesdance festival. After graduation, Mr.Arapoglou was invited to take part inDeltebre Dansa 2011. He has worked withJukstapoz dance company on SelfStorage, with RootlessRoot on Kireru, andwith Anton Lachky on The Good Black

Road. He has also performed for DamienJalet at the Louvre in Les Médusés and forDavid Zambrano in Tierras Enamoradas.He took part in the Boléro project at ParisOpera as assistant choreographer to SidiLarbi Cherkaoui, Jalet, and performanceartist Marina Abramovic.

Sang-Hun LeeSang-Hun Lee was born in South Korea.His interest in comic books and hip-hop ledhim to street dance. He studied at HanyangUniversity, where he earned a degree incontemporary dance and took courses inballet, hip-hop, and Korean traditionaldance. Mr. Lee also studied Bikram yoga.He performed with Eun-Mi Ahn at Daegudance company, as well as with Nam-JinKim. He met Sidi Larbi Cherkaoui throughKim, who collaborated with Cherkaoui onFoi. After his military service, Mr. Leestarted working with Cherkaoui as a substi-tute in Babel(words) in 2010.

Born in Assisi, Patrizia Bovi (harp) studiedmusic at Perugia Conservatory and thenwith Sergio Pezzetti. Her early studies wereof medieval and Renaissance music, andduring that period she practiced 16th- and17th-century Italian repertory, with a focuson Monteverdi. In 1984 Ms. Bovi foundedEnsemble Micrologus, whose main aim isthe research and interpretation of medievalmusic. The group performs throughout theyear in Italy and abroad. In 1990 she joinedQuartetto Giovanna Marini, participating inall its productions and tours, and since 1995she has collaborated with EnsembleOrganum. In 2007 she directed the musicalproject for Sidi Larbi Cherkaoui’s Myth. Shehas also worked on Babel(words), Play, and4D. Ms. Bovi has recorded several albumswith Ensemble Micrologus, and an album

dedicated to Landini and his contempo-raries won the Diapason d’Or in 1996. Shehas also made recordings on the HarmoniaMundi label.

Mahabub Khan (harmonium) began collabo-rating with Sidi Larbi Cherkaoui in 2010 onBabel(words). He was born in Kerap, Indiain the region of Rajasthan. Like his brotherSattar Khan, he belongs to a family of tradi-tional musicians who passed on their artfor generations. He interprets the tradi-tional songs of his native region, whichaccompany agricultural activities and theannual village festivals. Mr. Khan is a giftedsinger of traditional Qawwali songs, as wellas compositions from Rajasthan andBhajan, and possesses a unique and pow-erful voice reminiscent of Nusrat Fateh AliKhan’s. He also plays the tabla and harmo-nium. For more than ten years he traveledaround the world to play in festivals withthe traditional music and dance groupMusafir. He has also played with GulabiSapera (India), Thierry Robin (France), Lo’JoTriban (France), Natasha Atlas (England),and many others.

Sattar Khan (tabla, mridangam, flute), whoworked with his brother Mahabub onBabel(words), carries on a tradition passedto him from his ancestors, who were alsomusicians. He became a master in the artof playing the dholak, and after his arrival inEurope in 1996, he continued to performhis cultural heritage. Mr. Khan plays with

Patrizia Bovi

Mahabub Khan

Sattar Khan

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the group Musafir and has also performedwith singers Natacha Atlas, Ghalia Benali,and Mary-Anne Roberts. In 2004 Mr. Khandedicated himself to presenting his owntraditional heritage, the music and dance ofRajasthan, to Western audiences. Themusic group Rangeela was born out of adiverse mixture of artists. Each one ofthem gives a particular interpretation of alyrical and musical heritage.

Italian-born musician Gabriele Miracle (daf,snare, dulcimer, floor tom) has collaboratedwith the Symphonic Orches tras of Perugiaand Sassari, Solisti Aquilani, OrchestraVerdi di Milano, Tetraktis Per cussioni, andQuadrivium Percussione-Ricerca. Since1998 he has been a permanent member ofEnsemble Micrologus, with whom he hastaken part in projects featuring QuartettoVocale di Giovanna Marini, Lina Sastri,Banco del Mutuo Soc corso, Daniele Sepe,and Sidi Larbi Cher kaoui. As a sessionmusician, he has collaborated with artistsfrom all over Europe. As a composer, hehas written music theater scores and in2008 was one of the composers for LaVedova Scaltra by Italian director LinaWertmüller. He performs in Mr. Cherkaoui’sBabel(words), Play, and 4D.

Kazunari Abe (taiko, Japanese snare, flute)is a poetic artist, musician, and composerbased in Japan. He plays the shino-bue, atraditional Japanese flute made of bam-boo. The inspiration for his music comesfrom nature, folk entertainment, andprayers of the living and dead. After 14years as a member of Kodo, TaikoPerforming Arts Ensemble, he currentlylives in his hometown of Niihama. Heteaches shino-bue performance and playsin contemporary dance programs such asPuz/zle and Babel(words), both choreo-graphed by Sidi Larbi Cherkaoui. In 2014Mr. Abe released his first album, Ryu NoKoe (The Echo of Dragon Singing). He hasperformed in 28 countries, give solorecitals as well as workshops sharing thecharm of the shino-bue.

Alexandra GilbertAlexandra Gilbert (costumes) studied atConservatoire de Paris and graduated fromCentre National de Danse Con temporained’Angers-l’Esquisse in 1996. Since thenshe has been creating costumes for the-ater and dance productions. For the pastten years, she has worked extensively onthe projects of Serge Ricci/Mi-Octobre,Charles Cré-Ange, Christie Lehuédé,Xavier Lot, Lionel Hoche, François Verret,and Marion Lévy. Ms. Gilbert joined SidiLarbi Cherkaoui’s crew in 2004.There shemet Erna Ómarsdóttir and Damien Jalet,with whom she developed diverse pro-jects that include Foi and Myth by

Gabriele Miracle

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Cherkaoui, We are all Marlene Dietrich byÓmarsdóttir and Emil Hrvatin, Ofætt byÓmarsdóttir and Jalet, Il cielo sulla terra byStefano Scodanibbio, L’Image by ArthurNauzyciel, and 3 Spells by Jalet. In 2010Ms. Gilbert worked on a duet with musi-cian Christian Fennesz.

Adam CarréeAdam Carrée (lighting design) studied light-ing design at Rose Bruford College, gradu-ating in 1997. He then went on to workwith Central St. Martin’s at CochraneTheatre, collaborating with design stu-dents from Central St. Martin’s, dancersand choreographers from Royal Academyof Dance, Central School of Ballet, LondonStudio Centre, and Rambert School ofBallet and Contemporary Dance. Sincethen, Mr. Carrée has worked in theater,dance, and opera. He has collaborated on a num ber of projects with Sidi LarbiCherkaoui, including Sutra and Babel(words)with Antony Gormley. Other collaborationsinclude Faun, Play, Puz/zle, and 4D. Hislighting designs for other companiesinclude Epson Downs and Hobson’sChoice for Drama Centre London, A Tasteof Mangoes for Tara Arts, Flavio for EarlyOpera Company, RSVP for the Place Prize,Rites, Before Night Fell, Shattered, SecondGrace, and Gameshow for CompanyChameleon, and The Cat Who Ran forUnicorn Theatre.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism can

divide the colors and make them appear;this prism could be the spirit of the listener.—Arvo Pärt. Now in its seventh year, theWhite Light Festival is Lincoln Center’sannual exploration of music and art’spower to reveal the many dimensions ofour interior lives. International in scope, themultidisciplinary festival offers a broadspectrum of the world’s leading instrumen-talists, vocalists, ensembles, choreogra-phers, dance companies, and directorscomplemented by conversations withartists and scholars and post-performanceWhite Light Lounges.

Lincoln Center for the PerformingArts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and festi-vals including American Songbook, GreatPerformers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer NightSwing, the Mostly Mozart Festival, and theWhite Light Festival, as well as the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS. As manager ofthe Lincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.

All photos ©Koen Broos

Benfury ChristineLeboutte

Darryl E. Woods Kazutomi“Tsuki” Kozuki

Helder Seabra Paea Leach FrancisDucharme

DamienFournier

Navala “Niku”Chaudhari

SandraDelgadillo Porcel

Ulrika KinnSvensson

Dancers

AimiliosArapoglou

Sang-Hun Lee

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingRegina Grande Rivera, Associate ProducerNana Asase, Assistant to the Artistic DirectorLuna Shyr, Senior EditorOlivia Fortunato, House Seat CoordinatorGabe Mizrachi, Program Content Coordinator

For the White Light FestivalLaura Aswad, ProducerJanet Rucker, Company Manager

For Babel(words)Nienke Reehorst, Assistant to the ChoreographersLou Cope, DramaturgyFahrettin Yarkin, Traditional Turkish Musical CounselorPatrick “Sharp” Vanderhaegen, Technical DirectorMathias Batsleer, Geert Gyssels, Bart Vanhoydonck, TechniciansElisabeth Kinn Svensson, WardrobeMeriem Fadil El Alaouiova, Tour ManagerProduction: Eastman (Antwerp), La Monnaie/De Munt (Brussels)Co-Producers: Sadler’s Wells (London), La Villette (Paris), Theaterfestival Boulevard (DenBosch), Festspielhaus (St. Pölten), Les Théâtres de la Ville de Luxembourg, Fondationd’entreprise Hermès, Migros Culture Percentage Dance Festival Steps (Zurich),Fondazione Musica per Roma, Ludwigsburger Schlossfestspiele

Co-commissioned by Dash Arts 2010 program on Arabic ArtsWith the support of Garrick Charitable Trust, Asano Taiko, Flanders Centre

World Premiere: April 27, 2010, La Monnaie/De Munt (Brussels)

Several studies have examined how exposure to the arts in middle

school strongly impact a student’s social skills and development as well as likelihood to graduate from high school. In 2013, Lincoln Center Education launched a pilot program in partnership with the New York City Department of Education aimed at this specific issue. Called Arts in the Middle, it focuses on arts education as a potential catalyst for improved student engagement and success in and out of school, as well as parent engagement, teaching practices, and school and community culture.

Through Arts in the Middle, Lincoln Center Education is working with more than a dozen underserved New York City middle schools that have little to no arts programs. LCE is supporting schools with efforts to hire a part-time or full-time arts teacher, in addition to deploying its own roster of skilled teaching artists to help in the classroom and provide professional development for teachers and family engagement. Early results of these efforts to support educators and students are showing positive results. Metis Associates, hired by LCE to evaluate short- and long-

term effectiveness of the program, has documented increased parent engagement, which can have an impact on student success. Some schools have also noted that students are becoming vibrant and vocal participants when the arts are integrated into classrooms. If results continue in this direction, Lincoln Center Education hopes to develop an adaptable model of the program that can be disseminated nationally to bring arts education to underserved communities.

“As our partnership with the New York City Department of Education continues to grow, so, too, does our commitment to supporting whole communities by providing thoughtful programs for students and families around New York City’s five boroughs,” said Russell Granet. “Arts in the Middle is just one of many ways Lincoln Center Education is leveraging high-quality arts programs to improve the lives of all New Yorkers.”

Learn more about Lincoln Center Education and its work at home and abroad: LincolnCenterEducation.org

Students from South Bronx Academy for Applied Media

4 decades of thinking like an artist

Arts in the Middle

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Accessibility at Lincoln CenterReflecting a quote by Lincoln

Center’s first president John D. Rockefeller III that “the arts are not for the privileged few, but for the many,” Lincoln Center has had as a central mission from its start making the arts available to the widest possible audiences. In 1985, that led to the establishment of the Department of Programs and Services for People with Disabilities to ensure full participation in the thousands of events presented annually across the Lincoln Center campus. It was the first such program at any major performing arts center in the U.S. and has long-served as a model for other arts institutions around the country.

Celebrating its 30th anniversary with a new name, Accessibility at Lincoln Center, the program continues to provide exceptional guest care to all visitors, as well as training in accessibility to colleagues at Lincoln Center’s resident organizations, including the Film Society of Lincoln Center, the New York Philharmonic, and Jazz at Lincoln Center.

Accessibility oversees the production of large-print and Braille programs for hundreds of performances taking place each year at various Lincoln

Center venues. Another major component of Accessibility is its longstanding “Passport to the Arts.” The program annually distributes to children with disabilities thousands of free tickets to a variety of Lincoln Center performances, including New York City Ballet and the New York Philharmonic—a welcoming introduction to the arts. A parent who participated in a recent “Passport” event commented “It allowed my family and I to enjoy and learn along with everyone else. The accessibility… made it easier for our family to “relax”

and truly enjoy the experience.”

Accessibility is expanding the ways it serves adults with disabilities. It introduced and oversees American Sign Language-led official tours of Lincoln Center, and offers live audio description for select Lincoln Center Festival performances. Accessibility

looks forward to growing its inclusive programs in the years to come.

To learn more about Accessibility at Lincoln Center, please contact access@lincolncenter.org or call 212.875.5375.

American Table Café and Bar byMarcus Samuelsson in Alice Tully Hall

is a great dining option available to LincolnCenter patrons, along with LincolnRistorante on Hearst Plaza, indie food &wine in the Elinor Bunin Munroe FilmCenter, ‘wichcraft in the DavidRubenstein Atrium, The Grand Tier in theMetropolitan Opera house, and LincolnCenter Kitchen and the cafe in DavidGeffen Hall.

Marcus Samuelsson, the youngest chefever to be awarded a three-star reviewby The New York Times and the winnerof the James Beard Award for both“Rising Star Chef” (1999) and “BestChef: New York City” (2003), craftedthe menu along with long-time associateNils Noren, MSG’s Vice President ofRestaurant Operations. American TableCafe and Bar by Marcus Samuelssonserves food that celebrates the diversityof American cuisine, drawing on influ-ences and regions from across thecountry. Dishes on the menu, which isoffered for both lunch and dinner,include Smoked Caesar Salad, ShrimpRoll, and Chocolate Cardamom PannaCotta. The bar features a cocktail menudesigned by consulting master mixolo-gist, Eben Klemm, as well as a selectionof reasonably-priced wines.

Marcus Samuelsson’s memoir, Yes,Chef, chronicles his remarkable journeyfrom being orphaned at age three in hisnative Ethiopia to his adoption by a fami-ly in Göteborg, Sweden, where he firstlearned to cook by helping his grand-mother prepare roast chicken. He wenton to train in top kitchens in Europebefore arriving in New York, first takingthe reins at Aquavit. He has won thetelevision competition Top ChefMasters on Bravo as well as top honorson Chopped All Stars: Judges Remix.

His current New York restaurant, thewildly successful Red Rooster, is locat-ed in his home base of Harlem.

American Table Cafe and Bar seats 73inside, plus more space outside on theAlice Tully Hall Plaza. Diller Scofidio +Renfro, the designers of the criticallyacclaimed Alice Tully Hall, transformedthe glass-walled space with lounge-likefurniture in warm, rich colors, a longcommunal couch, tree-trunk tables, andlighting that can be dimmed to adjustthe mood. The design—an eclectic reinterpretation of Americana—draws its inspiration from the cafe’s culinaryfocus. Call 212.671.4200 for hours ofoperation.

The Table is Set

Marcus Samuelsson