1The Seldoms

Where Tradition Meets the Unexpected2016-2017 Season

The SeldomsPower Goes

www.uniontheater.wisc.edu | 608-265-ARTS800 Langdon St., Madison, WI 53706

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Presented by the Wisconsin Union Directorate Performing Arts Committee, directed this year by Folarin Ajibade.

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THE SELDOMS

The SeldomsPower Goes

Carrie Hanson, Director/ChoreographerStuart Flack, PlaywrightBob Faust, Video Design

Mikhail Fiksel, Sound Design & CompositionJulie E. Ballard, Lighting Design & Technical Direction

Michael J. Kramer, DramaturgyJeff Hancock, CostumeLiviu Pasare, Projection

Brian Shaw, Theatrical ConsultantJonathan Goldman, Voice Over

Christina Gonzalez-Gillett, Assistant DirectorPhilip Elson, Media & Technology Coordinator

Movement Design and Performance by The Seldoms Ensemble: Philip Elson Christina Gonzalez-Gillett Damon Green Amanda McAlister Howard Matthew McMunn Cara Sabin

Additional movement design by original cast member, Javier Marchán-Ramos.

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COM MUNIT Y CAST

Allyson MartinAna Grimh

Andy StoiberDianne Brakarsh

Hildy Feen

Jessica CourtierKari DickinsonKatie Norman

Lynn LumMoji Igun

Nolan ElsbeckerPaul Schoeneman

Scott CampbellToria Marsh

Zhi Xuan Ooi

SOUND CREDITS

Lyndon Baines Johnson Special Message to the Congress: The American Promise (on the Voting Rights Act), March 1965 Address to the Nation Announcing Steps to Limit the War

in Vietnam and Reporting His Decision Not to Seek Reelection, March 31, 1968Lyndon Baines Johnson Phone Conversation with Joe Haggar

(Tailor), August 1964Lyndon Baines Johnson Phone Conversation with Congressman Adam Clayton Powell,

March 1965Lyndon Baines Johnson Phone Conversation with Lady Bird Johnson, March 1964

Lyndon Baines Johnson From “Excerpts of Selected Telephone Conversations of President Lyndon Baines Johnson,” October 1, 2003 and

“The Humor of LBJ,” Centennial Edition, 2008 (Produced by LBJ Library and Museum, 2313 Red River, Austin TX 78705)

Barack Obama “A More Perfect Union,” March 2008Barack Obama State of the Union Address, January 2015

Barbara Jordan Democratic National Convention Keynote Speech, 1976Dave Brubeck “Unsquare Dance,” 1961

Townes Van Zandt “Brazos River Song,” 1994Jimi Hendrix “Purple Haze,” 1967; “Fire,” 1967;

“Star Spangled Banner,” 1969

Power Goes was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts.

Power Goes is a National Performance Network (NPN) Creation Fund Project co-commissioned by Museum of Contemporary Art in partnership with Southern Illinois University at Edwardsville and NPN.

With major support from Elizabeth Liebman. Additional funding for Power Goes was provided by The Boeing Employee’s Community Fund and by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events.

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ABOUT THE PROGR A M

How to Get PowerThe Seldoms Dance with Lyndon Baines Johnson and the 1960sBy Michael J. Kramer, dramaturg/historian-in-residence

What I believe is always true about power is that power always reveals.— Robert Caro, Lyndon Baines Johnson biographer

Lyndon Baines Johnson was an imposing man. Six foot four inches, with a lust for domination and control that was legendary, he rose from the destitute but beautiful Hill Country region of Texas to Senate Majority Leader in 1955, to the vice presidency in 1960, and, finally, upon the assassination of John F. Kennedy in 1963, to the presidency. Johnson’s career was tainted by controversy, questionable ethics, and backroom deals that epitomized the worst of insider Washington politics and corruption. Nonetheless, when he took office, Johnson also oversaw the passage and implementation of transformative civil rights legislation and social welfare initiatives with his Great Society programs. A man obsessed with accruing individual power, he sought to wield it in service of the collective good.

Johnson’s larger-than-life persona and the swirling tumult of the 1960s serve as the starting point for The Seldoms’ Power Goes.

This multimedia dance work is not merely a biographical study of LBJ, however. It uses Johnson to explore the concept of power and social change in American life from a much wider angle. It may seem unlikely to use dance to consider this issue, but the ways in which power and social change relate to the body, how physical movements parallel social movements, and the subtle and not-so-subtle effects of motion, stance, positioning, space, duration, performance, and interaction on public life—they all reveal dance to be one of the best forms for addressing this topic.

LBJ’s political prowess and ability to make change was itself linked to his physical presence. He famously employed the “Johnson Treatment,” leaning into other politicians when seeking to intimidate, control, or cajole them. He also knew how to stay still: according to his celebrated biographer Robert Caro, when LBJ first came to Washington, he often sat silently in the chambers of Congress for long periods of time, taking in legislative protocols and rules.

He was a master of the tactile in all its dimensions, whether in the cloakrooms of insider politics or on the campaign trail. Incidentally, he also loved to dance.

Johnson was not the only one interested in power during his presidency. He was pushed to action by grassroots struggles, by civil rights freedom fighters, and others (the question of who deserves credit for the political breakthroughs of the 1960s remains contested, as demonstrated by the controversies over representations of Johnson in the film Selma). LBJ’s success in getting Congress to adopt his policies also helped to power the rise of the New Right, with its reactionary conservatism often rooted in a visceral loathing of Johnson’s Great Society programs. Far more tragically, LBJ chose to escalate American involvement in the Vietnam War, a trauma so damaging to his reputation that he did not run for reelection in 1968 even though he won his 1964 presidency by a landslide.

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As Robert Caro contends, Johnson’s story sheds light on broader questions of power. “I don’t think of my books as being biographies,” Caro explained in a 2012 interview. “My interest is in power. How power works.” It is this larger issue of power and how it works that pulsates through Power Goes.

Choreographer Carrie Hanson’s reading of Caro’s LBJ biography during 2012, an election year that saw Americans frustrated by what felt like the partisanship and stalemate of national politics in the United States, inspired the questions in Power Goes:

How is power wielded for social change—or for the blockage of substantive social transformation? What is power, exactly, and how does it course through our culture, our institutions, our interactions, our things, our very bodies?

At the center of Power Goes is movement. In some sections, Hanson’s dancers work against each other in duets and group pieces of opposition, manipulation, and conflict. In others, they organize into a cooperative assembly, marching in solidarity. Often, as in life, the dance mixes the two: contentiousness and concord mingle, with issues of control, intransigence, and change at stake. In all cases, the body—both individually and collectively, as a social entity—is the essential medium in Power Goes. Probing the relationship of power to persistence, hindrance, impasse, stamina, alteration, surprise, and transformation with dance allows The Seldoms to access levels of information and meaning that language cannot reach.

“Put your body on the line!” That is what protesters insisted had to be done to oppose or change the policies of public figures like LBJ during the 1960s. Power Goes asks us to think about how embodiment mattered then, and continues to matter, to the workings of power. Looking back to the past to try to make sense of the present, The Seldoms put themselves on the line. They dance where history, giving us the Johnson Treatment, looms over our own time.

A version of this essay appeared in the Museum of Contemporary Art’s MCA Stage program notes for the premiere of Power Goes in March 2015.

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ABOUT THE ARTISTS

THE SELDOMSThe Seldoms are in their fifteenth season. Under the direction of choreographer Carrie Hanson, the Chicago-based company is committed to bringing audiences an expanded experience of dance that ignites thought and understanding of real-world issues from dance’s own unique, embodied perspective. Dance is at the center of the work, but the company’s vision extends to a total action and environment involving collaboration with artists and practitioners in fields as diverse as architecture, installation, video, sound, and fashion. With full-length works on pressing issues, such as the 2008 economic crisis and the ongoing climate change debate, they have built a reputation for “well-crafted and researched works that don’t hold forth a political agenda, but look instead at how these towering issues reflect back on our own humanity” (New City, which named The Seldoms Best Local Dance Company in 2012). Power Goes was a commission by the Museum of Contemporary Art Chicago and was awarded a National Performance Network Creation Fund and a National Dance Project Production Grant. An earlier work, Stupormarket, which examined the 2008 recession, was named “Best of 2011” by the Chicago Tribune, Chicago Reader, and TimeOut Chicago. The Seldoms were honored to be the first resident artist at the new National Center for Choreography at the University of Akron. Nationally recognized collaborators include the International Contemporary Ensemble (ICE), composer/sound designers Richard Woodbury and Mikhail Fiksel, playwright Stuart Flack, visual artists Bob Faust and Fraser Taylor, percussionist Timothy Daisy, and fashion designers Anke Loh and Maria Pinto. The Seldoms have performed across the U.S. and also developed significant international connections, touring in Russia, Canada, and Taiwan. With generous funding from the John D. and Catherine T. MacArthur Foundation’s International Connections Fund, they will travel to Scotland in July 2017 in an exchange with Glasgow visual artists. The Seldoms are also well known for their large site-specific, multi-disciplinary works in unconventional sites, such as an architectural salvage warehouse, a truck garage, and an Olympic-sized outdoor pool.

CARRIE HANSON / Artistic DirectorSince founding The Seldoms in 2001, choreographer and director Carrie Hanson has designed multidisciplinary projects with practitioners of visual arts, music/sound design, fashion design, and architecture. In 2015, she was named Chicago Tribune’s “Chicagoan of the Year in Dance”. Time Out Chicago called her 2005 work in a drained Olympic-sized outdoor pool, Giant Fix, one of the “best dance moments of the past decade”. More recently, her creative work has involved research and embodiment of social, political, environmental issues and history, as a mode of pressing dance and performance to speak to larger public issues. Hanson is the recipient of a Chicago Dancemaker’s Forum Lab Artists award, two Illinois Arts Council Fellowships, and a Ruth Page Award. She was named one of Dance Magazine’s “25 to Watch” in 2012. Hanson teaches at The Dance Center of Columbia College Chicago, and has guest taught at university programs including the National Taiwan University of the Arts, and her alma mater, Texas Christian University. She holds an MA in Dance Studies from Laban London.

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PERFORMERS

CHRISTINA GONZALEZ-GILLETT is the Assistant Director of The Seldoms. She grew up in the Chicago area and attended the University of Illinois at Urbana-Champaign where she received a BFA in Dance. She later moved to London to pursue her Master’s Degree in Dance Studies at the Laban Centre (now known as TrinityLaban Conservatory for Music and Dance) under the tutelage of Rosemary Butcher and Dr. Valerie Rimmer. During that time she worked professionally with independent choreographers and danced for several companies including BlueWhite under the direction of Melanie Clarke. Christina remained in London to teach at Kingston University and continued to dance professionally until moving back to Chicago. She taught at The Dance Center of Columbia College from 2004-2012, and leads technical training for The Seldoms. She is certified in Laban Movement Analysis and is also a certified Pilates instructor with over eight years teaching experience in the Chicago area.

PHILIP ELSON is a dance artist engaging with various arenas of dance research and performance including live performance, dance for camera, dance education and experimental collaboration. He recently premiered The Fifth, a full-length work commissioned by The Seldoms, at the Dance Center of Columbia College, and in 2014 he presented Terms and Conditions at Links Hall in Chicago. Elson has worked with companies and artists such as Same Planet Different World Dance Theater, The Dance COLEctive, tEEth, Khechari Dance Theater, Colleen Halloran, Liz Burritt, Paige Cunningham, Matthew Hollis, Jyl Fehrenkamp, Laboratory Dancers, and Muscle Memory Dance Theatre. His choreographic work has also been showcased in Chicago as part of the Harvest Festival, The Open Space Project, Poonie’s Cabaret and others. He holds a Bachelor of Fine Arts in Dance from Columbia College Chicago. Philip has been a member of The Seldoms since 2008, and is also the Media & Technology Coordinator.

DAMON D. GREEN is a dance artist and founder of TEXTUREDance Studio, an urban dance school located on Chicago’s north side. Green is a prominent contemporary performer in Chicago, working with The Seldoms for seven years, and also continues to explore and perform the form of Voguing, in its fusion with contemporary vocabulary, working frequently with choreographer Darrell Jones and Paige Cunningham-Calderalla. In 2010, Timeout Chicago named Green one of the “Top 10 Men of Dance”. His studio, TextureDance, is a home for the contemporary dancer, and offers training in Vogue, Modern, Street Jazz and Hip-Hop to youth, teen and adults. Damon joined The Seldoms in 2007.

AMANDA McALISTER HOWARD grew up and currently resides in Nashville, Tennessee. She lived in Chicago for ten years, earning a BA in dance from Columbia College Chicago and dancing for eight seasons with The Seldoms. Her early training and performance was with The School of Nashville Ballet. She has performed works in NYC and in Chicago by choreographers Lar Lubovich, Banu Ogan, David Parsons, Michael Cole, Angie Hauser, and Liz Burritt. Amanda has choreographed for several dance films which have been featured at CFANN and Dance Films Association in NYC. Also a dance/movement educator, she loves sharing her passion for movement with others and is committed to teaching Pilates to the elderly and with Pre and Post-natal clients. Amanda feels honored to be a part of The Seldoms since 2007.

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ABOUT THE ARTISTS c o n t.

MATTHEW MCMUNN Matthew joined The Seldoms in 2015. In 2014, Matthew danced for Kristina Isabelle in Levels & Lines, Philip Elson in Terms and Conditions, The Humans in my my grey sky, and for Peter Carpenter in Rituals of Abundance for Lean Times. He has also performed with The Dance COLEctive, Kate Corby and Dancers, and Lucky Plush Productions, among others. Matthew’s own choreography has been presented by Dance Chance Redux, Links Hall, Core Project, Blunt Objects Theatre, Red Tape Theatre, and The Leopold Group. He has collaborated with Fused Muse Ensemble on a number of multimedia projects. Matthew studied theatre and dance at Columbia College Chicago. He graduated with a bachelor’s degree in Cultural Studies in 2010. Matthew is a seasoned DJ, he can dance on stilts, and he coaches ice dancers. CARA SABIN has been with The Seldoms since 2005. An athlete all her life, she discovered dance while in her senior year of high school. She received a BFA from The Dance Center of Columbia College under Bonnie Brooks and an MPP from The Harris School. She has had the opportunity to perform works at the Kennedy Center in Washington D.C., at Lincoln Center’s Out of Doors Festival and at Solar1’s Solar-Powered Dance Festival in New York. Aside from dance, Cara has reconnected with her athletic roots and is a Strength & Conditioning Coach and manager at CrossFit Defined where she combines her love of movement and teaching.

COLL ABOR ATORS

STUART FLACK / PlaywrightStuart Flack is currently a Senior Fellow at The Environmental Law & Policy Center, where he is leading work on innovation. He is an award-winning playwright with productions at many of the leading theaters in the U.S. including Southcoast Rep, Culture Project, Interact, Victory Gardens, Texas Performing Arts and Contemporary American Theatre Festival. His plays include “99% Walden”, “Floaters”, “Sidney Bechet Killed a Man”, “Homeland Security”, “Jonathan Wild”, and “American Life & Casualty”. As a producer, he ran the Chicago Humanities Festival, the largest festival of arts and ideas in the U.S. from 2007 through 2012. In 2015, he was commissioned by Steppenwolf Theatre to adapt “Black Like Me”. He is currently a writer in residence at Chicago Dramatists and part of The Third Bohemian, a national gathering of artists He has been awarded two residency grants from the MacDowell Colony. As guitarist, he has appeared at Ravinia and the Harris Theatre with the Chicago Jazz Orchestra. He collaborated with The Seldoms on the dance theater work, RockCitizen (2016).

BOB FAUST / Video & Installation DesignDrawing upon the language and tools of the design world and capitalizing on his expertise as a typographer, Bob Faust creates visual, visceral and contextual art experiences that inspire and/or instigate action. He is the principal and creative director for Faust, a cultural branding and communications studio as well as the studio/special projects director for artist Nick Cave where he collaborates on both exhibition design and performance works. Faust’s non-secular approach is ubiquitously applied across all his work genres, from client-based commercial work to galleries and institutions, as well as his monthly, anonymous street art series called “Full Moon Projects.” Faust has been recognized nationally and internationally for his creativity and clarity through many

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prestigious exhibitions and publications such as the Society of Typographic Arts, Expo Chicago, DSGN CHGO, Communication Arts, Print and the London Creative Competition. Faust created the visual design for The Seldoms’ RockCitizen (2016), a companion piece to Power Goes.

MIKHAIL FIKSEL / Sound DesignMikhail Fiksel is a composer/designer/dj based in NYC and Chicago, but living at the intersection of classical, jazz, electronic music, and sound design. His dance projects include design for The Seldoms, Lucky Plush, The MCA Chicago, The Nexus Project, and others. Other recent endeavors include theatrical designs and compositions for Manhattan Theatre Club, Williamstown Theatre Festival, The Goodman Theatre, The New Victory, The Old Globe Theatre, Long Wharf Theatre, Cleveland Playhouse, American Conservatory Theatre, Victory Gardens, Dallas Theatre Center, Berkeley Repertory Theatre, The Geffen Playhouse, Second Stage Theatre, Writers Theatre, Timeline, The Hypocrites, Redmoon Theatre, Tukkers Connexion (Arhnem, Holland) and Festival FILO (Londrina, Brazil). Recent film work includes scores for feature films “Glitch”, “The Wise Kids” and “In Memoriam”. As a dj, he has been exploring and blending genres for the dance floors and cerebral playground since 1997, sometimes with his live music ensemble “Seeking Wonderland”. He has received 7 Joseph Jefferson Awards for Sound Design and Composition, a Lucille Lortel Award, a Garland Award, an AfterDark Award for a New Original Musical and the Michael Maggio Emerging Designer Award. He is an Artistic Associate with Timeline Theatre, Teatro Vista and Redmoon and faculty at Loyola University Chicago and University of Chicago.

MICHAEL J. KRAMER / DramaturgMichael J. Kramer is a historian and writer. He is the author of The Republic of Rock: Music and Citizenship in the Sixties Counterculture (Oxford University Press, 2013; paperback, 2017). His new historical research explores the relationship between technology and tradition in the US folk music revival from the early twentieth century to the present. He teaches history, American studies, and digital humanities at Northwestern University and serves on the advisory board of the Chicago Dance History Project and as dramaturg/historian-in-residence for The Seldoms, a contemporary dance company based in Chicago. He writes about history, the arts, politics, digital humanities, and other topics for numerous publications and blogs at michaeljkramer.net.

JULIE E. BALLARD / Lighting Design & Technical DirectionJulie E. Ballard is a Chicago-based professional theatrical technician specializing in lighting design, photography and production/stage management.  Since 2008, Ms. Ballard has served as Lighting Designer, Stage Manager, and Technical Director for The Seldoms. Additionally, she is the Stage Manager/Props Master for the world-renowned Hubbard Street Dance Chicago. Ballard works in and around Chicago, Cleveland, and St. Louis, where she managed the Lee Theater as a visiting technician, designer, and stage manager for the Spring to Dance festival from 2007-2014. Ms. Ballard served as the Production/Stage Manager for the American Dance Festival (2003-2004) and Lighting Supervisor for David Dorfman Dance (2006-2008), and toured to national and international venues in San Francisco, New York, Siberia and South Africa, with upcoming engagements from San Diego to Germany. Ms. Ballard holds degrees in Theater (BA) and Lighting Design (MFA) from Kent State University and the University of Florida, respectively. www.overlaplighting.com

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COLL ABOR ATORS c o n t.

JEFF HANCOCK / Costume DesignJeff Hancock designs and constructs movement and costumes, examines their overlap, and sometimes mutual influence. Since 1990, throughout his years dancing for River North, Hubbard Street, Same Planet Different World and many others, his dance and design life collided, supported and informed each other. The study of movement, and curiosity about the semiotics of clothing has fueled a long history of aesthetic exploration ranging from the ridiculous to the sublime, minimalism to excess. Recent projects include Khecari-The Retreat, 25th Anniversary Dance For Life Finale-Choreographer Randy Duncan, Jump Rhythm Jazz Project-Jimmie Blues, Walkabout Theater-the cure, Curmudgeon Productions- Fantasmagorie, Khecari-Cronus Land, Lucky Plush-Super Strip, Parsons Dance Co.-Train by Robert Battle. He was a founding member of River North Dance Chicago, danced for Hubbard Street Dance Chicago, Dance Kaleidoscope, and Same Planet Different World Dance Theater, where he was a Co-Artistic Director. His company -ish design was formed in 2007. He was nominated for a McCormick Distinguished Lecturer Award, Ruth Page Awards for his dancing and choreography, and is an Illinois Arts Council grant recipient.

LIVIU PASARE / Video Design Liviu is developing his practice of creating visual experiences using new media and technology. He works as a video designer, cinematographer, editor, animator and has produced, directed and performed for live multimedia experiences. He has been affiliated with theaters and artists such as Luftwerk, Collaboraction, Redmoon, Manual Cinema, Victory Gardens, Blue Man Group, Lucky Plush, Thirst, Claudia Hart, Bob Faust, Nick Cave, and and is advancing an academic approach to Video for Performance as faculty at DePaul University.

ACKNOWLEDGMENTS

Power Goes was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts. Power Goes is a National Performance Network (NPN) Creation Fund Project co-commissioned by the Museum of Contemporary Art in partnership with Southern Illinois University at Edwardsville and NPN. With major support from Elizabeth A. Liebman. Deep gratitude to the Museum of Contemporary Art, and Peter Taub and Yolanda Cursach of the MCA Stage Performance Program.

General operating support for The Seldoms was made possible by the New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation. The Seldoms are also supported by The Richard H. Driehaus Foundation and the MacArthur Fund for Arts and Culture, The Donnelley Foundation, the Ginger Farley Charitable Trust, Jesser, Ravid, Basso and Farber, LLP, Levinson and Stefani, and many generous individuals. The Seldoms are in residency at Pulaski Park, through the Chicago Park District’s Arts Partners in Residence Program, which unites artists and communities in Chicago’s parks. Special thanks to William Frederking and Nathan Keay for photography.

The Seldomswww.theseldoms.org

Maarja Nuut Northern Estonian fiddler, singer and storyteller

Saturday, February 4, 2017, 8pm Frederic March Play Circle

Gabriela Montero, pianoA visionary interpreter who played with Yo Yo

Ma, Itzhak Perlman and others Saturday, February 11, 2017

Shannon Hall

Pilobolus: Shadowland Thursday, February 23, 2017, 8pm

Shannon Hall

Gerald Clayton Quartet “Huge, authoritative presence” (New York Times)

Saturday, February 25, 2017, 8pm Frederic March Play Circle

Solas “Irish-American supergroup” (NPR)

Sunday, March 5, 2017, 7:30pm Shannon Hall

Rise Up and Sing! Featuring The Heritage Blues Quintet and

Ruthie Foster “A more potent Carolina Chocolate Drops” (The

Independent)Thursday, March 9, 2017, 8pm

Shannon Hall

Mnozil BrassVirtuosic brass with a touch of Monty Python

Thursday, March 30, 2017Shannon Hall

Los Angeles Guitar QuartetGrammy winning “formidable ensemble”

(Baltimore Sun)Saturday, April 22, 2017

Zakir Hussain (tabla) with Rahul Sharma (santoor)

Santoor Master with “The most accomplished tabla player ever in Hindustani classical music”

(Rolling Stone)Thursday, April 27, 2017, 8pm

Shannon Hall

Lea Salonga Broadway star and voice of Disney princesses

Mulan and Jasmine Sunday, April 30, 2017, 7:30pm

Shannon Hall

Milwaukee Symphony OrchestraEdo de Waart’s Final Season

Sunday, May 21st, 2017, 2:30pmShannon Hall

Terence Blanchard Featuring the E-Collective

“Jaw-dropping artistry and soulful creativity” (Allmusic.com)

Saturday, June 17, 2017, 8pm Shannon Hall

2016-2017 Season

Uniontheater.wisc.edu 608-265-ARTS (2787)

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