WACD

UCLA Department of World Arts and Cultures/Dance

UCLA

Newsletter FALLVolume 3

2011

Senior Projects Concert

Content:Welcome!

2 3 4-6 7-14 15-18 19-20 21-22 23-24

Overview! People! Student Reports! Alumni! Students!UCLA Regents Lecturer 2010-2011 Artist Gregory Maqoma

Faculty ! Centers!

Acknowledgments!25-27

Greetings!Welcome to WORLD ARTS AND CULTURES / DANCE Newsle7er, vol.3 (Fall 2011)Welcome to the departments third annual newsle7er! The department also welcomes a name change eecNve this fall the Department of World Arts and Cultures / Dance! The name change signies clarity in recognizing Dance as a discipline at the university and at the same Nme acknowledges that our departments study of dance is in partnership with and informed by the interdisciplinary nature of the broader departmental mission the study of arts and cultures from a global perspecNve. The department has grown tremendously since its incepNon in 1995 aXer the merger of the Department of Dance and the IDP World Arts and Cultures. We are at a stage of dierenNaNon and elaboraNon of our mission for our various degree programs as well as renewing key shared goals. The name change serves as a marker for our growth as a department. AddiNonally we welcome a newly designed website that will be launched soon in the Fall Quarter please visit us there for the latest news. We have had another successful year of educaNon, creaNon, and research fostered by our community of faculty, students, and sta with generous support and engagement from our alumni and Friends of WACD. The goal of this newsle7er is to serve as a conduit for connecNon, re-connecNon, reecNon, and informaNon sharing. Through this newsle7er, we hope to create and maintain a comprehensive framework for communicaNon that connects UCLAs Department of World Arts and Cultures/Dance with local, naNonal, and global communiNes whether alumni, current students, or Friends of WACD. In addiNon to providing alumni and current faculty/ students updates, this ediNon focuses more on short essays and photographic documentaNon about the various projects that took place in the department all contributed by parNcipants of these projects. We welcome the contribuNons, staying true to one of the departments mission to foster a vibrant parNcipatory community. We seek to reach out to the community at large as a collaborator in informaNon generaNon and educaNonal leadership. The responsibility we all have as arNsts and scholars of the arts in the United States and world-wide during this Nme of economic, arNsNc, and cultural landscape shiXs has reinforced our mission to foster the formulaNon of criNcal and intercultural insights into the nature of human creaNvity. All of the departments faculty members are engaged in their respecNve research and projects to further the departments mission. CongratulaNons also to our students and alumni who have achieved much as well. To view the many accomplishments and accolades of our students, faculty, alumni and sta, please page through this newsle9er. Despite these trying Nmes, the department conNnues to provide its extra-ordinary programs to our students. Many thanks to all who have made a contribuNon to our various funds in support of programmaNc needs and student scholarships. There are new projects and iniNaNves this coming year from Regents Lecturer Meredith Monk to an exciNng concert series funded by a very generous donaNon (see Updates: HOT OFF THE PRESS secNon). The two centers housed in the department, Center for Intercultural Performance and the Art | Global Health Center each have brought an immense energy through their respecNve acNviNes engaging not only our students campus-wide, but also our Los Angeles community and beyond. I hope to hear from you regarding your work and perspecNves from Nme to Nme. Contact us at wacinfo@gmail.com as well as be sure you are updated on our WACD Alum/FOW email list. (Select Join our Mailing List at our website, www.wac.ucla.edu). Warmest Regards,

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World Arts and Cultures/Dance IS:The formulation of critical and intercultural insights into the nature of human creativity.1.

The creation and interdisciplinary study of dance and other body-based modes of performance.2.

Mutually beneficial engagement with the diverse cultural and artistic communities of Los Angeles.3.

Angelia LeungChair, Department of World Arts and Cultures/Dance For informaNon about donaNng online please visit us at: h7ps://giving.ucla.edu/Standard/NetDonate.aspx?SiteNum=37

Newsletter ReviewIni5a5ves and outreach highlights from last year --

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Of signicance was the departments Regents Lecturer residency with Gregory Maqoma in February. The Regents of the UC established the Regents Professors and Lecturers Program which permits the appointment, on a visiNng basis, of disNnguished leaders from elds outside the tradiNonal boundaries of the academic world to enrich our instrucNonal programs. The residency took place in the winter quarter February 14-25, 2011. Vice Chair of Undergraduate Aairs Vic Marks spearheaded the 2-week residency of classes, performances and talks which brought together students and faculty from across the campus, as well as diplomats and members of the community. An internaNonally acclaimed choreographer, teacher, dancer, arNsNc consultant and creaNve director, Mr. Maqoma has taught and presented work all over Europe, Africa and the U.S. He also serves as Associate ArNsNc Director of Moving into Dance, ArNsNc Director of the Afro Vibes FesNval in the Netherlands, and is a founding member of MUISA (MulN Arts IniNaNve of South Africa). Laiye Weidman wrote of her experiences parNcipaNng in the Regents Lecturer residency here in this newsle7er. Vice Chair of Graduate Aairs David Shorter spearheaded the Maso Yi'iwa: Yoeme Indian, on May 5th 12:00 noon in the Kaufman Courtyard. This special Deer Dance and accompanying long table discussion on Dancing Deer in the City: heritage, staging ritual, tourism and Indian iden5ty" took place throughout the rest the day as well as on May 6. This program was funded largely by the Schools Arts IniNaNve as well as partners across campus.

We nished the Spring

The department also hosted numerous visitors from schools and prospecNve students and parents throughout the yearincluding the Project HeArt students from LA County Schools, Portola Middle School, among others. School of the Arts and Architecture now has an approved Arts Educa5on Minor for our undergraduate students, many of whom are from this department. This coming year the School received a generous grant from the Gluck FoundaNon which allowed the program to expand with more course oerings that include those that will be taught by our graduate students Anthony Bodlovic and Sarah Wilbur, and alums Carolina San Juan and Kevin Kane.

Quarter (June 3-4) with the presentaNon First Hand comprising of faculty choreographic projects (Harris, Marks, Popkin, Rousseve, Yu) involving over 40 undergraduate and graduate students. This was an iniNaNve lead by David Rousseve that we hope to conNnue on a regular basis.

Kudos to our 2011 gradua5ng classes, to Commencement Speaker Don Cosen5no and Graduate Speaker at the Commencement Rosemary Candelario (PhD 11) and congratulaNons go to our undergraduates and graduates for their accomplishments and recogniNons. We had students receiving awards, fellowships, and scholarships ranging from the Departmental scholarships, Deans scholarships to extramurally funded fellowships. See them in the Newsle7ers Student Accomplishments secNon.

People and Events

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Fond farewells took place at the end of the Spring Quarter to reNring faculty Don Cosen5no, Irma Dosamantes-Beaudry, and adjunct faculty Lynn Dally. Also leaving for another posiNon was Student Aairs Oce Assistant Nicole Fucich. We wish them the very best in their next chapters. Don will go to Italy having received the presNgious Rockefeller Residency Fellowship at Bellagio. Irma plans to return to her home in New Mexico, to conNnue her wriNng projects, while Lynn prepares for her companys (Jazz Tap Ensemble) tour to Africa as part of the invited group of arNsts represenNng the State Department. Lynn recently gave an informal showing of her work at the Nate Holden Performing Arts Center company members included two of our own current undergraduate students, BJon Carter and Kenji Igus.

During this summer of 2011 the department hosted its 5th annual High School Dance Theater Intensive with its full enrollment of 44 students from very diverse backgrounds and geographic locaNons engaged in eight very intensive days of classes, workshops, collaboraNve project-making. 20 of the students were scholarship students funded by the Flourish FoundaNon (thank you!!). Directed by Kevin Kane, assisted by Jackie Lopez and Ally Gray with returning faculty members Kealil Ceballos, Derrick Jones, Breeze Leigh, Carolina San Juan, Nehara Kalev, Olivier Tarparga, new faculty Nina Flagg, and student counselors and assistants Leanne Iacoveaa, Kenji Igus, Genna Moroni, Myrrhi Reed, Chantal Valenzuela, Harry Weston all drawn from the department. Thank you to all who made the program run so well! Read Harrys brief report on this intensive in this newsle7er.

The department collaborated with UCLAs First Star UCLA Bruin Guardian Scholars Summer Academy, directed by Wally Kappeler of the UCLA Department of Student Aairs, funded by First Star, Inc. We provided space and two of their instructors for this rst Nme oering which brought 30 ninth grade foster youths onto campus for an intensive 5-week residenNal summer program. The purpose of this program is to provide academic support, enrichment and encouragement needed to assist them in becoming compeNNve applicants for subsequent admission to two and four year colleges, including those within the UC system. WACD adjunct faculty Jason Tsou and Cari Ann Henderson taught Tai Chi and Social Media respecNvely to these young students.

UPDATES!

HOT OFF THE PRESS: Through the vision and generosity of BRAD TABACH-BANK who has spearheaded and commi7ed substancial contribuNons towards the development of a series of three arNst residencies every year, the department will launch its rst residency in Spring 2012. The intent of this project is to bring a new generaNon of outstanding choreographers to Kaufman Hall. Under the direcNon of Victoria Marks (Vice Chair of Undergraduate Aairs), the pilot residency will bring performer Faye Driscolls newest work, NotNot (if you pretend to be drowning I will pretend I am saving you) to UCLAs Kaufman Hall for a west coast premiere. Workshops with our students and outreach into LA schools in under-served areas will take place before and aXer the performances. For more informaNon on how you can play a role in this exciNng iniNaNve, contact UCLA Arts Development, development@arts.ucla.edu.

STUDENT ACCOMPLISHMENTS/AWARDS

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Congratulations!

to the undergraduates and graduates awarded Departmental and Deans General and CompeNNve Scholarships for the 2011-12 academic year many thanks go to all who have contributed to the departmentwhether designated to specic funds or to the general Departmental and Chairs DiscreNonary Funds. Your contribuNons have made a dierence in the lives of our students! SOAA Deans General Scholarships: Undergraduates: Lenna Assaf, Tehya Baxter, Perry Fox, Kris5n Harkey, Ivy Hurwit, Carmel Lev, Bridget Murano, Eliana Nudell, Myrrhia Reed, Madeline Schwarz Graduates: Mana Hayakawa, Ana Paula Hoing, Andrea Wang SOAA Deans CompeNNve Scholarships Graduates: Mana Hayakawa (Edna & Yu-Shan Han Award); Alexandra Shilling (Evelyn & Mo OsNn Performing Arts Award; Elaine Krown Klein Fine Arts Scholarship); Rita Mar5ns Runo Valente (Moss Scholars Award) Departmental scholarships/fellowships: Undergraduates: Flourish FoundaNon Scholarships: Allison Kochakji, Harry Weston Hya7 Scholarship: Ivy Hurwit, Carmel Lev Jean Irwin Scholarships: Jacob Campbell, Kenji Igus Sandra Kaufman Scholarships: Kevin Le, Madeline Schwarz Carl Patrick Memorial Scholarhips: Ivy Hurwit, Carmel Lev, Eliana Nudell Students Caitlin Bechelli and Tamara Kohan (photo above) received the Soo Jin Kim Dancing Scholarships awarded this year two $1000 awards to two graduaNng seniors nominated from the dance concentraNon BA degree program. The awarding event took place June 4, 2011, with Ms. Kim and two of her board members, Ms. Kum Ok Park and Ms. Moon Hee Chang. Newly admiaed students Sarah Esser (Dance concentraNon) and Marisa Schwarz (WAC concentraNon) received the Regents Awards for 2011. Graduate Students: Department of WAC/Chairs DiscreNonary Fund: Emily Beade, Anna Creagh, Alison DAmato, Elyan Hill, Neelima Jeychandran, Andrew Mar5nez, Olive McKeon, Lorenzo Perillo, Andrea Wang ForN Family Scholarships: Sarah Leddy, Alexandra Shilling Hand Scholarships: Doran George, Anan Paula Hoing Alma Hawkins MFA Fellowships: Sarah Jacob, Meena Murugesan, Sharna Fabiano, Emily Beade, Carson Erd Jean Irwin Scholarship: Jose Reynoso Medha Yodh Memorial Scholarships: Joseph Small, Meena Murugesan

Congratula6ons also go to the many who received outside and campus-wide compe66ve scholarships and fellowships!!!

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STUDENT ACCOMPLISHMENTS/AWARDS continuedUndergraduates Tehya Baxter, Jacob Campbell, and Skye Serijan were honored by the Center for Community Learning in its CelebraNon of the Helen S. and Alexander W. AsNn Civic Engagement Scholars and Fellows Program on May 24, 2011.

Tehya Baxter (dance concentraNon) was a recipient of the AsNn Civic Engagement Scholars Program which funds a select group of advanced students to conduct year-long civic engagement research in their eld of interests. Tehyas project, EecNveness of dance movement to further the verbal development of English Language Learners was conducted at the UCLA Community School.

Jacob Campbell (dance concentraNon) and Skye Serijan (WAC concentraNon) were recipients of the AsNn Civic Engagement Fellows Program, which oers an entry-level experience in civic engagement to a select group of sophomores who parNcipate in two-quarter projects. Jacobs project, EecNveness of photography to further the understanding of pre-exisNng classroom curriculum and Skyes project, Impact of the availability of college advice and resources for students were both conducted at the UCLA Community School.

Undergraduate student Madeline Schwarz and Graduate Student Samuel Anderson were nominated and invited to a7end the Chancellors DisNnguished Students RecepNon held on May 25, 2011.

Graduate Students Research & AchievementsDisserta5on Year Fellowships recipients:

Ana Paula Hing, Jose Reynoso, CedarBough Saeji Damola Osinulu (PHD 11) will be joining the Michigan Society of Fellows for a 3-year postdoctoral fellowship and a 3-year concurrent appointment as an Assistant Professor in the Center for Afroamerican and African Studies (CAAS). Building on his doctoral invesNgaNon of Pentecostalism in urban Nigeria, his postdoctoral research will examine Nigerian Pentecostalism's journey across naNonal borders into the African ciNes of Accra, Johannesburg and Kinshasa. This research is intended to re-calibrate discussions of global ows by shiXing our focus towards the exchange of ideas and pracNces between Africans within the conNnent.

Neelima Jeychandran was awarded a presNgious Smithsonian InsNtuNon Graduate Student Fellowship to work at the NaNonal Museum of African Art for ten weeks this summer with the Deputy Director and Chief Curator, ChrisNne Kreamer, who has oered to make a wealth of resources available to Neelima that directly concern her research in Ghana on the Cape Coast Castle museum.

ara Stranovsky was awarded a West African Research AssociaNon (WARA) Pre-doctoral Research Fellowship to conduct research in West Africa for her dissertaNon project, Batuko, Community and InternaNonal Exchange in SanNago, Cape Verde.

Feature Article: AMP it UP!AMP It Up! Mural Project by Ivy Hurwit

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It was the first project I would call my own. The Art and Global Health Center at UCLA asked me to coordinate a new idea for their high school sexual health education program and what followed was the first time I really saw the power of what art is capable of when a community takes action. The UCLA Sex Squads goal was to open a dialogue with Los Angeles teens about sex and sexual health. The group talked about condoms, HIV, pregnancy, LGBT bullying, and having the right to make your own decisions. At the end of the performance the high school students were asked if they knew where they could go for condoms or HIV testing nearby. Some knew. A lot didnt. Then came the reveal. Each school was presented with a mural that directed students to the nearest condom and testing locations from their schools. The graffiti-style murals were vibrant, colorful, and seamlessly blended into beautiful art with important information. Not only did the kids love the artwork, but also took note of the information to protect themselves. Creating the eleven site-specific murals was no easy feat. It took every bit of creative hustle we had and passionate support from the Los Angeles graffiti community. First it took an aggressive push to find the artists with the talent, time, and who really got what the project was about. Then, with a recommendation by a few Sex Squad members, we contacted Lanny Markasky- a professional muralist and tattoo artist. He immediately accepted and brought in another artist. But as the mural day approached, I was still very nervous, because we were two artists short. Lanny came to the rescue again. He brought in two more artists who, despite having no preparation or warning, immediately bought into the purpose of the project and were ready to go. And then the mural day was upon us. We were ready for whatever the day was going to bring. Except rain. And winds. The weather report had predicted a chance of late afternoon showers. Apparently late afternoon meant 9 am that day. We were running all around campus to cover the murals with tarps and try to figure out a solution. Acrylic artists Will Deutsch, Christopher Velasquez, and Danny Heller started inside. The aerosol artists waited for a change in the weather. With a slight break in the rain, they ran outside and started spray-painting the murals. Right away they fell into a rhythm and the murals started to come to life right before our eyes. And then the rain came back. We had to think of a Plan B, and then a Plan C as the artists sprinted with their murals for cover. We had artists under every awning we could find, taping tarps to every wall and pinning up the murals in every safe spot imaginable. We powered through with the shared goal, laughter, and creativity. It was amazing to see how despite unfortunate conditions, the power of community involvement made the day really enjoyable. The group finished the murals just after sunset around 6:30pm. Each artist interpreted combining school pride with themes of sexual health so differently. Each of the artists incorporated their styles and aesthetics into the mural. The murals first went up on display in Kaufman Hall so that they could be shared with the WAC community before departing to high schools. As each school approached on the tour, the murals were taken down from the lounge and sent with the Sex Squad to be presented to schools. The AMP It Up mural project was an opportunity to make a difference in the lives of thousands of youth. I feel blessed to have been given the opportunity to make this happen. Though Ive always believed in the power of art making, Ive never seen it actually happen so dramatically. I now truly believe that art can spark conversation across boundaries of cultures and traditions. This project has helped me remember that art can actually make a tangible difference in communities when its done with passion and originality by sparking conversation. Conversation leads to communication, which could eventually lead to change. In this case, the change is very much a reality. These students may walk down the hall of their high school and see that mural every day. And hopefully with every interaction they will be reminded of the potentially life saving information. Ivy Hurwit is a 4th year senior in the World Arts and Cultures concentraNon. With support from the department, Ivy has had the opportunity to work with faculty members David Gere and Dan Froot on a variety of projects such as AMP It Up!, Through PosiNve Eyes, and Whos Hungry Santa Monica. She looks forward to applying these undergraduate experiences to her post-graduate work.

Student Reports: Gregory MaqomaBeau5ful We: 10 Days with Gregory Maqoma by Lailye Weidman

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On ValenNnes day, I gathered with twenty students and South African choreographer Gregory Vuyani Maqoma for the rst evening session of a 10-day intensive workshop at UCLAs Department of Dance/World Arts and Cultures. Gregory asked us to introduce ourselves by name and movement background. While the students talked solely about dance forms they had studied, Gregory spoke about the city of Johannesburg. He said that he would be drawing from this locaNon in our work together and that the energy of the city, its mulN- cultural and transitory nature, would infect our pracNce. There would be a showing at the end of the workshop, but he emphasized that our ulNmate goal was to enjoy our selves. The driving forces of our work will be honesty and playfulness, he said in a gentle voice. We then launched into dancing and did not pause for a couple of hours. He demonstrated each movement with relish and idiosyncraNc intensity. At the end of the evening, he cauNoned us: When people see African movement, they think they need to dance hard. Instead, he encouraged us to bring more lightness to the pracNce. The technique porNon of our sessions began standing in a demi-plie rst posiNon, pounding heels into the oor steadily while the arms and upper body extended and arched in syncopated rhythm with the feet. His teaching reects a rich technical training in several dance forms: Kathak, modern/post-modern, tradiNonal dances from South Africa, as well as pop styles and Hip-Hop from the clubs and streets of Johannesburg. He oXen taught simple movements rst and then elaborated them into highly physical and complex sequences. One evening, during a parNcularly dicult phrase fueled by gravity and momentum, he repeatedly called out, What are you afraid of? Dont hold back! In the choreographic part of our sessions, he taught us a movement seed that we sliced into smaller secNons or cells. We rearranged the cells mathemaNcally and developed them on our own, in groups, and under his direcNon into a 30-minute presentaNon on the nal day. We used this seed as a shared movement language, a structure to improvise with, and a tool to discover new relaNonships to one another and to space. He asked us to tell a story with the dance and to nd something new each Nme we repeated a movement. The material conNnued to change right up to (and through) the showing. Though it felt vulnerable to perform in such an unpolished state, sharing our process with others in the WAC department allowed me to see the depth and breadth of what we had explored in ten packed days. Going forward, I hope to integrate what I learned from Gregory more deeplyto risk giving more of myself in both class and performance, no holding back! Lailye Weidman is dance arNst in Los Angeles and a recent graduate of the Department of World Arts and Cultures/Dance. Her wriNng has been published in Contact Quarterly and Itch dance-zine.

Student Reports: Guillermo Gmez-PeaRadical Acts of Love and Humor: El Mad Mex Gmez-Pea invades UCLA by Allison Wyper

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How oXen do you gaze, unblinking, into the eyes of a stranger, asking for nothing, oering only your complete presence? Each Nme he introduces this exercise, one of the core exercises of his pedagogy, Guillermo Gmez-Pea reminds us that this exercise is performed regularly by shamans, babies, and lovers. It is a basic unit of social agreement: you see me, I see you, we are here together. It may seem simple, maybe even easy, but it is actually incredibly dicult, especially for self-conscious students. Its incredibly dicult, in my experience, to make myself available, to resist laughing, communicaNng, blinking, or mentally reviewing my shopping list. But then there are moments when I nd myself there, present, diving into the most beauNful pair of chocolate brown eyes Ive ever seen A San Francisco-based, Mexico-born performance ar5st (and celebrated author, spoken word poet, NPR contributor, MacArthur Genius Award winner), Gmez-Pea easily capNvates a rowdy lecture hall of 150 undergraduate students. He is funny, irreverent, unfailingly resplendent in ornate black and silver. His Art as Social AcNon (WAC 100A) class, made up of an equal number of trained arNsts (mainly of the visual and dance varieNes) and non-arNsts (athletes, economics majors, history majors, etc.), dealt with radical pedagogy, saNre, taboo, the acNvist power of the spoken word, and imaginaNon as a poliNcal tool, oXen using their performing bodies as the primary site for deeply personal invesNgaNons. Tears were shed, borders were traversed, and most importantly, everyone spoke up. This was a non-negoNable requirement, for Professor Gmez designed the class to be a weekly town mee5ng where everyone would be heard, no one would ever be censored, and anyone could challenge the class format or the professor at any Nme. Miraculously, the experiment worked. A much smaller group of grad students (myself included) worked with the arNst in greater depth, in a class called Embodied Theory: A Workshop in Decolonizing the Body (WAC 220). This workshop followed the Pocha Nostra method, developed collaboraNvely by Gmez- Peas company, La Pocha Nostra. On day one, placing himself among a circle of twelve experienced visual and performing arNsts, Gmez- Pea began to intone, his ngers snapping slowly in Nme, Performance is performance is. One by one we joined in, adding to the call and response chant, Performance is shiXing, ephemeral Performance is not representaNon, but being, becomingIt is not a parade of policemen Each week we returned to this chant-poem, adding layer upon layer of complexity. Next we got on our feet, and pracNced manipulaNng, shaping, and decoraNng each others bodies with care and reverence, respec|ully uNlizing another body as raw arNsNc material for bizarre intercultural tableaux and surreal choreographies. Next used our own bodies, naked or collaged with mulNvalent, overlapping props, makeup and costume, to develop performance material based on our own complex idenNNes, aestheNcs, and poliNcal tribulaNons. At the end of ten weeks that spilled out of the studio to occupy public spaces throughout Kaufman Hall and Wilson Plaza, we ended up in a theater with an audience. This public jam session was, in a way, a test for ourselves: How does the work change in front of an audience, under theatrical lighNng, with a live sound system? It was also a rare opportunity for outsiders to glimpse a bit of our process. My memories of the jam are blurry, like a watercolor in the rain. Feathers, leather, and endless lengths of bright fabric, masks and medical equipment, and the voice of our guide, our performance shaman, chanNng: Performance is not microwaveable Performance is not microwaveable Allison Wyper (MFA 2011) makes live performance that destabilizes the familiar from a feminist, acNvist perspecNve to reveal uncomfortable truths about our daily lives. She has been an associate of Guillermo Gmez-Pea and La Pocha Nostra since 2004, and was thrilled this year to assist in teaching Pocha workshops at UCLA and the Performance Art InsNtute (San Francisco). www.allisonwyper.com

Student Reports: HSDTI

by Harry Weston

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It's Janelle from the summer theater intensive. I never got a chance to thank you that last day for the amazing experience I had at the program. Not only was I introduced to new styles of dance that I'm certain I will conGnue to learn about, I also gained a new outlook on myself as an ar6st and what I want to do with my future, and I met upwards of 50 new people that will have a major importance in my life. I'm sure I will never forget what I learned from my peers and the sta. It has furthered my interest in the power of the arts in the world and in the WACD program in parGcular. I am looking forward to audiGoning when the Gme comes! The sixth annual 2010 WAC Summer High School Dance Theatre Intensive was held on June 26- July 3, 2011 at WACD. Again, with the oversight of Chair Angelia Leung and directed by Kevin Kane (MFA 2003), the program brought together a diverse mix of high schoolers to our department. This year a total of 44 students, ages 15 through 18, parNcipated, coming from places such as Los Angeles, Southern and Northern California, Boston, Colorado, Oregon, and even as far as Turkey. The applicaNon and preparaNon processes, which began six months before student arrivals, consciously a7empted to gather a dynamic group of young arNsts, 20 of whom a7ended on full scholarship all sponsored by the Flourish FoundaNon. As for the eight-days of the program, the students engage in an incredibly jam- packed and intense experience where they a7end a stream of classes such as modern/post-modern, hip hop, Hawaiian and West African dance forms, as well as classes in ImprovisaNon and composiNon, Art as Social AcNon, acNng technique, and daily theatre rehearsals culminaNng in a collaboraNve performance project. AXer an incredible eight days of community building and art making, the students performed this years nal producNon, enNtled SNll Be Here, an hour-long, fully-produced mulNdisciplinary, meta-narraNve dance-theatre piece exploring such complex issues as personal and group idenNty and idenNcaNon, the role of the arNst in society, and featured intercultural perspecNves on collaboraNon. Performed in the Glorya Kaufman Dance Theatre to a standing-room-only house of parents, family members, friends, and teachers, it was a very exciNng, emoNonal, and inspiring day for all who a7ended. All in all, despite the various dierences between the 44 students, 6 counsellors, 2 directors, and 7 faculty members, the creaNve and social processes of the program facilitated the students to bond, live together, study, play, create, and perform together as a collecNve! Harry Weston was born in San Francisco in 1989 and has been dancing his whole life, from his mothers West African dance classes in his early years to hip hop during high school and now as an adult in LA and beyond. Now a student in the dance concentraNon at UCLA, and he expects to graduate in June 2012.

Graduate Student UpdatesCedarBough T.SaejiCurrently ABD In 2010-11 I spent just over 12 months in the Republic of Korea conducNng doctoral dissertaNon research with the support of the Fulbright-Hays, the Asian Cultural Council and UCLA InternaNonal InsNtute. Research, on transmission of performing arts knowledge, was (and is unNl mid August) amazing. My husband, Karjam, also just nished recording a new CD with Korean and internaNonal musicians.

11Dana Lea MarterellaM.F.A. CalArts 2000 UCLA WACD Culture and Performance PhD program, 2nd year h7p://lXblank.blogspot.com Dana Marterella is an associate professor at Glendale College where she teaches English and HumaniNes. Her research focuses on themes of queer diaspora in LaNn American literature, visual art and street acNvism.

April Rose Burnam (changed from Wilson)MA Culture Performance and Dance (2nd year) www.aprilrosedance.com April Rose spent the last year touring internaNonally with Bellydance Superstars, making stops throughout North America, Europe, & Japan. With the tour complete, she is returning to WAC where she studies bellydance history and culture, the poliNcs of fusion, and the female communiNes created around improvisaNonal bellydance. Her latest project was a short dance lm created in collaboraNon with her husband for Dances Made to Order (www.dancesmadetoorder.com/videos/another- good-morning). In the next year she has performance dates planned in CroaNa, Italy, and Mexico as well as many collaboraNve projects with other LA-based arNsts.

Feature Symposium: ButohBetween Experiment Form and Culturalism: Butoh in History and Contemporary Prac5ceUCLA May 20-22nd, 2011by Alissa Cardone

The groundbreaking symposium Between Experiment Form and Culturalism: Butoh in History and Contemporary PracNce convened May 20-22nd at UCLA, the rst-ever interdisciplinary symposium dedicated specically to Butoh performance and history in the United States. Co-organized by WAC graduate students Rosemary Candelario (PhD 2011), Alissa Cardone (MFA 2011), Micheal Sakamoto (Class of 2012), and Allison Wyper (MFA 2011), along with Professor William Maro~ of UCLA Dept of History, it kicked o with a sold out performance at REDCAT that featured the enigmaNc & legendary Akaji Maro of Dairakudakan, internaNonally acclaimed dancer/ choreographer Katsura Kan and US-based Butoh pracNNoner Joan Laage/Kogut. With over 75 parNcipants from the United States and Japan, the symposium united scholars, criNcs, audiences and arNst pracNNoners of the Japanese post-WWII dance form Butoh in vibrant discussions that centered around the proliferaNon of Butoh training and performance in Japan since the 1970s and across the globe since the 1980s. In addiNon to performances, there was a lm screening, 4 movement workshops hosted by WAC in Glorya Kaufman Hall, and a full day of presentaNons and discussions. A panel dedicated to contextualizing Butoh in history featured talks by Naomi Inata (Showa University, Japan), Bruce Baird (UMASS Amherst), and Susan Blakely-Klein (UC Irvine). An arNst pracNNoner panel included Akaji Maro (Japan), Katsura Kan (Japan), Joan Laage (USA) and Shinichi Iova-Koga (USA) and was followed by break-out discussions and a report back on various topics. By examining the various histories, methodologies, and implicaNons of Butoh as a simultaneously transnaNonal and culturalist phenomenon, the symposium aimed to break new ground in dance, performance, theater, history, and cultural studies scholarship and establish Butoh as a prime case study for this nexus of interdisciplinary thought and pracNce. Alissa Cardone (MFA 2011) is an experimental movement arNst and choreographer, co-founder of Kinodance Company, and has been making cross-genre interdisciplinary projects for the stage, lm, and gallery since 1999 that have been presented both naNonally and internaNonally. She has performed and/or collaborated with arNsts such as Akira Kasai, Yoshito Ohno, Elaine Summers, Xavier Le Roy, Ann Carlson, and was a member of Paula Josa-Jones/Performance Works from 1998-2003. h7p://www.kinodance.org

Feature Interview: SAND by Cari Ann Shim Sham*

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An Interview by Tom White

1) How did you get started in documentary lmmaking?I can't really say that I "got" into doc making. An idea came to me that quickly turned into an obsession that luckily transformed magically into a lm. I didn't know the nal form would be a Doc when the iniNal aha moment of concepNon struck me. Although now, in hindsight, I realize that a doc really was the only opNon for the concept. As an arNst and lmmaker I'm always interested in showing the world new things, and SAND was just that. Also being a dancer who has a passionate love aair with tap dance, I fell hard for this lm. It was more to me then just an interesNng story to share. SAND is a document that serves as an archive of this rare art form from our American Vaudevillian past. It shows the transferring of the dance from one generaNon to the next, what is referred to as "passin' the sand" from a father to a son, a passage of lineage and personal family oral history. I can't say enough about how authenNc, rare, one of a kind, gems of a lm this is. It is a tesNmony to our country's eeNng turn of the century history, as well as an homage to vaudeville and an important new piece to add to the canon of world dance and documentary cinema.

2) What inspired you to make Sand?I was chair of the dance department at the Culver City Academy of Visual & Performing Arts from 2001-2007. While I was there I started an advanced youth tap group called the Tappa Tappa Tappas. Our academy and the group drew the a7enNon of a young man by the name of Kenji Igus. His mother sent me an email at the beginning of the 2003 school year asking about the group and if her son could stop by and try out. When Kenji showed up I was surprised and delighted. He quickly t in to the group and became a very strong contributor and central force. One day he menNoned that his dad knew the hambone and could sand dance. I asked him to invite his father to come in to one of our rehearsals and do a workshop with the students. When I saw Darrow and Kenji together that day, dancing on our stage together, aXer the workshop, not talking to each other, but instead trading steps back and forth, the idea came to me in a ash. In that moment the lm SAND was born. It took me 5 years from that day to make the lm come to fruiNon. In those ve years the lm grew inside of me, gaining structure, insight and a deepening of purpose. As Nme passed I had the pleasure of seeing Kenji grow into a charming young man and a ne emerging tap dance arNst. I applied to several grants and the project was shortlisted by the EMPAC Dance Movies Commission in their rst granNng cycle, 2007, but not funded. I had to pay from my own pocket to fund the lm with $7,000 to produce and another $12,000 to print and tour it to fesNvals to make it happen. But that small amount is nothing compared to the saNsfacNon I get from sharing Kenji and his father in this beauNful lm with the world. I'm so happy to have captured this Nme of his life and be able to tell the story of father and son and this almost lost art form of sand dance. This project serves as an archive that highlights the nest two sand dancers I've come across in the world bringing to light their contribuNons to and legacy in the history of American Tap Dance. As a dance scholar it is my intent to collect, write about, archive, and pass on informaNon to help bring awareness to and sustain this great American form. As a lmmaker I am commi7ed to creaNng compelling images that will enlighten and inspire.

Feature Interview: SAND by Cari Ann Shim Sham*

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This lm could not have happened without Kenji and his father Darrow Igus and it is my giX to them. It also could not have happened without the fabulous crew, whom inspire me always and I thank from the bo7om of my heart for their passion, creaNvity and sacrices to make this lm so beauNful, Kyle Ruddick, Ross Riege, TK. Broderick, Will Pellegrini, Phil Abrams, Reyanna Vance and April Rose.

3) What were some of the challenges and obstacles in making this lm, and how did you overcome them?When it came Nme to choose a camera to shoot SAND, the Canon 5dMark ii was the buzz and everyone was talking about the cameras ability to shoot video, but no one I knew had tried. I was researching cameras and the 5d kept popping up so we decided to test it out on Kenji. We shot the 5d next to the Panasonic HVX 200, another camera that we owned and were considering. One of my students at UCLA had a 5d so we had him bring it in. When we got the footage side by side there was no doubt in my mind which camera we would use to shoot the lm. My D.P, Ross Riege went to work researching the camera and it's sensibility to light. Since I wanted a 3 camera shoot, Ross had the challenge of matching up 3 cameras and lighNng specically for the 5d and its jumpy light sensiNve image sensor. Ross also pulled in the big guns lens wise and ordered up two long lenses, 500mm meant for high speed sports photography to punch in on the feet of the dancers. At the end of our rst day when we were checking footage, my producer Kyle Ruddick, Ross and I noNced that we had a 2-3 frame freeze in our footage that was occurring every 12 frames, caused by a camera hack to help control light, leaving our footage completely useless. As the director, I made a quick and steadfast choice to not tell the rest of the crew and Kenji and his fa7er that we had lost all but an hour of our rst day of footage. We pressed on the next day, to get the lm shot in only one full day. For comic relief we started referring to the camera as "the wild horse". This small disaster helped me in the edit as I didn't have too many choices or too much footage to fall in love with. But ht edit was for me the hardest part. I love to edit, but ediNng SAND was one of the most dicult tasks of my life. I truly cut my teeth on it, and cut some other things in the process tootee hee hee. I had driX issues with the sound synch, the camera runs fast, which was new for me, and it was a hell of a Nme converNng the footage for playback in FCP and it took me a long Nme to line up, synch sound and render all three cameras before I could even get started ediNng. I believe I took about six months to edit the lm, which is a ling Nme for a 10 minute doc. But I needed it and the lm deserved it. I really wanted the rhythms and the dance to speak louder then the words. I gave it my all, at Nmes I was so aected by the edit I would get nauseous or dizzy. It had a very strong physical eect on me. My dreams were full of rhythms and my sleep was sparse and erraNc. I wouldn't trade that Nme of my life out for anything. It was epic, transformaNve, I learned so much, and every moment along the way I had a strong sense that it was more then just making a lm, it was a sensaNon of purpose that I just can't explain with words. I couldn't really talk to anyone about it, when they asked, I would just smileit was profound, absolutely surreal, and that to me is the power of art.

4) How did your vision for the lm change over the course of the pre-produc6on, produc6on and post-produc6on processes?My vision for the lm in its infant stage was just a single image that carried with it a strong space for history and revelry, dance and a father/son relaNonship. I knew that I wanted Kenji & his father Darrow to tell their story, but I also wanted to show them "doin' the sand". So trying to strategize how to put the two together was a long progressive process that mostly occurred in my head. We doc lmmakers have to be so though|ul and strategic in how we approach our subjects, in choosing the quesNons we pose in posiNoning ourselves and our cameras into our subjects lives in order to remain invisible and just let it bethere's a lot of le~ng go, and a lot of thinking that you do alone, conversaNons with yourself.

Feature Interview: SAND by Cari Ann Shim Sham*It's risky. You never know what you'll get. But that for me is part of the magic in the moment. When you turn that camera on, who really knows what might happen. It's so mysterious. I love living in that state of awareness, wonder and the unexpected surprise. So yes my vision grew from a seed to a seedling, a juvenile to a plant and now we are in full bloom.

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5) As youve screened Sandwhether on the fes5val circuit, or in screening rooms, or in living roomshow have audiences reacted to the lm? What has been most surprising or unexpected about their reac5ons?The rst Nme I screened SAND was in Los Angeles at the James Bridges Theater at UCLA. It was a preview of the lm, for all of my friends, cast and crew. I don't remember much from that night, but there was one comment my friend Michael Sakamoto said to me that stuck. He grabbed me and he said "Cari Ann! SAND! It took my breath away, I was literally holding my breath when I was watching it! Incredible!" So that's my favorite feedback moment memory. People love the lm. When it screens it really charms audiences and makes them feel something special, and they fall in love. It's a real lovable lm.

6) What docs or docmakers have served as inspira5ons for you?My favorite Doc is Manufactured Landscapes, and I also am a fan of Baracca. Films that speak through imagery, and lmmakers who know how to make those images speak, those are my inspiraNon. One of my teachers, John Bishop, is a real inspiraNon. I love his docs, they really go there for me. He always says, just point the camera and let life happen. Anyone who is brave enough to pick up a camera and make a lm. Those angels, those magnicent souls, who make movies happenthey are my heros.

xo, cari ann shim sham* MFA 2009www.cariannshimsham.com www.sandshor|ilm.com Cari Ann Shim Sham* is an award winning lmmaker noted for her surreal visual style and precise manipulaNon of the edit. Her lms screen internaNonally and shes presented live work at the Joyce Soho, & Danspace in NYC, Highways Space, Redcat, The Brewery, The Henry Huang Theater and Bergamot StaNon in Los Angeles. Her recent collaboraNons include David Rousseve, Victoria Marks, Margare7 Williams, Rachael Lincoln, Kyle Ruddick, Jia Wu, John Bishop and Lynn Dally. She works in the mediums of Experimental Short Film, InstallaNon, Documentary lm and Dance for Camera. She recently was published in the InternaNonal Journal of Screendance, and authored a ten lesson educaNonal toolkit for video and photography for the worldwide parNcipaNon of students in a mulN-pla|orm parNcipatory media project & documentary lm, One Day on Earth www.onedayonearth.org. EMPAC Dance Movies Commission short- listed her in 2011, 2010, 2009, 2008 & 2007 grant cycles and she was the recipient of the Surdna Arts Teachers Fellowship in 2007. She is a member of the screening commi7ee for Dance Camera West and for the Topanga Film FesNval and curated a Dance for Camera program for Topanga in 2010 and 2011. Having taught workshops in Dance for Camera in Malaysia Java, and in Los Angeles and guest lecturing on Dance for Camera at UCLA and UC Riverside in 2008, she is currently working in post with Jia Wu on a Dance for Camera lm that she shot and Directed in San Francisco, in July of 2011. Shes won Best Director from the First Glance Film FesNval and Best Mini Doc from the St. Louis InternaNonal Film FesNval and Best Short Documentary from the Oxford Film FesNval for her newest lm SAND which received Ocial SelecNon by the AusNn Film FesNval in 2010 and the Sea7le InternaNonal Film FesNval in 2011. She's also earned a Silver create award for ProducNon/Post ProducNon on Are You for Real?, the Jumping Frames 2008 Dance Video Award for Delicious Tree and also a nalist at Jumping Frames for Are You for Real? and for SAND 2 Telly Awards on My Big Break, and a Jury Shorts Award from Cinedans on Are You for Real?. She served as the chair of the Dance Department at The Culver City Academy of Visual & Performing Arts from 2000-2007and ArNsNc Director of Bitch Co. from 1995-2001; an all female dance theater company, performing feminist based protest art extensively throughout the underground Los Angeles Art Gallery and Rave scene. She has a BA and MFA in Choreography from the UCLA World Arts and Cultures Department. She has trained with and performed for Victoria Marks and David Rousseve and studied lm and video with John Bishop, Roberta Shaw and Thierry DeMey.

Alumni UpdatesBelow are a few updatesfrom WACD alumni....

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Jody (Friedman) WeissM.A. 1980 jodyweiss@sbcglobal.net Jody is currently a licensed marriage family therapist working in integraNve wellness. Recently, she began studying with Dr. Dan Siegel (UCLA) who is doing cu~ng edge work in Interpersonal Neurobiology.

Joshua FreedmanB.A. 1992 www.6seconds.org AXer WAC, he found himself loving educaNon and became a middle school teacher. That led to the creaNon of a nonprot to teach about teaching emoNonal intelligence, and now he has oces in 11 countries and he nds himself using those WAC insights frequently as he work with people around the globe to use emoNons as a fuel for posiNve change.

Gretchen Schneider B.A. 1965, M.A. 1968 B.F.A. 2006 in Media Arts, M.F.A. in Film 2010 from San Francisco Art InsNtute gretchen.schneider@granadaarts.com Gretchen has received the Kodak Award and has recently exhibited at the San Francisco Museum of Modern Art. Presently she does lms and photography, research for lmmakers, consulNng on historical styling, and volunteers at the Pacic Film Archive in Berkeley, CA.

Marcia MelkonianB.A. 1984 Ethnic Arts / Folklore and Mythology M.Ed 1991 MLIS at UCLA in progress marciaw3@juno.com

Phil McAbeeM.A. 1995 adultballet@la.com Phil currently is the manager of the On-Line Learning Management System at L.A. InternaNonal College. He also conNnues his dance teaching at Adult Ballet.

Margaret Kitchen BridnghamB.A. Dance 1966 margaretbri~ngham@gmail.com Teaches dance in San Francisco at the Performing Arts Workshop, a community oriented dance and theater studio. AXer moving to Arizona, she taught dance at Phoenix College. She has now reNred from teaching second grade and is enjoying wriNng essays, a memoir, and poetry. She would love to hear from fellow UCLA dancers.

D. Chase AngierB.A. Dance 1987 www.angierperformanceworks.com Chase is arNsNc director of Angier Performance Works and Associate Professor of Dance at Alfred University in New York. She specializes in mulN disciplinary site specic performance. (Photo below of Chase by John Laprade)

Andy VacaM.F.A. 1995 Andy is now serving as Chair of the Dance Department at CSU Long Beach.

Paula Schomburg DonahoeM.A. 1977 daretodanceco@yahoo.com Paula is director of the Wright Tappers (55+ senior tap group) as well as being a tap & modern dance teacher.

Chris5ne Echeverri B.A. 1997 WAC Art History emphasis wacd@alchememe.com AXer graduaNng from college, ChrisNne started and ran her own oral design business based in Pasadena for 8 years. During that Nme, she also completed an M.A. in Economics from Cal State LA. Currently, I am a stay at home mom with my 3 kids.

Norma AdlerB.A. 1979 toradler@yahoo.com Norma moved to Massachuse7s in 1979, lived in New York City for 12 years, and has been back in beauNful western Massachuse7s for the past 17. Shes been an editor, and theatre and dance writer; currently I am a legal aid a7orney in the poorest area of the state. She has been with her wonderful wife Susan since 1992.

Sophiline Cheam ShapiroB.A. 1997 sophiline@khmerarts.org www.khmerarts.org melissa.teodoro@sru.edu Will be presenNng her latest dance drama, "The Lives of Giants," at Berkeley's Zellerbach Auditorium on 2 October and at Santa Barbara's Campbell Hall on 6 October 2011. She is ArNsNc Director of KHMER ARTS.

Alumni Updates...Melissa TeodoroM.A. 1997 Dance Ethnology M.F.A. 2003 Dance, U Hawaii melissa.teodoro@sru.edu Melissa is an Assistant Professor Department of Dance at Slippery Rock University (Western PA) since 2003.

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Joe NguyenB.A. 1999 WAC, B.A. History josephnguyen@gmail.com Joe is Sr. Director of Sales for an online media company.

Michael RichterM.A. 2003 Dance mikeydance@yahoo.com Michael is teaching ESL at the Technological InsNtute/University here in La Paz, Mexico using performance games to make the teaching/learning dynamic. He enjoys having the same students all semester or all year, aXer many years of doing short term arNst residencies and then moving on to new schools.

Jo ParkesM.F.A. Choreography 1998 www.mobildance.org/ Jo was invited by the Gedenkst7e Berliner Mauer to create a dance piece to mark this event. The piece features a cast of 25 mainly non-professional performers aged 11 65 and is being created in the two weeks leading up to the memorial event at the Gedenkst7e Berliner Mauer on August 13th. Created in collaboraNon with co-choreographers Fiona Edwards and Anna-Luise Recke with original music for solo cello by Wassily Gerassimez, Between the Bricks makes visible the stories of those people living in and around Bernauer Strae in 1961.

Scarlet Sparkuhl DeliaB.A. WAC 2000 scarletgemmina@yahoo.com Scarlet is a Family Medicine Resident Physician in Las Vegas at the University of Nevada School of Medicine.

Catrice Jeanneae LawsonB.A. 2004 WAC, minor African American Studies www.CreaNveKidsFamilyChildCare.com www.CreaNngArtThroughDance.com Catrice works from home running her two businesses. She is director and primary caregiver for her company CreaNve Kids Family ChildCare and she owns a dance studio. She is a mother of two children and she sNll loves to dance, teach, and perform.

Post Natyam Collec5veShyamala Moorty M.F.A. 2002, Anjali Tata M.F.A. 2002, Sandra Cha7erjee PhD 2005, Cynthia Lee M.F.A. 2007, dance media collaborator Sangita Shresthova PhD 2008 www.postnatyam.net www.postnatyam.blogspot.com In 2011 the Post Natyam CollecNve (skype photo to right) premiered their new show, SUNOH! Tell Me, Sister. This evening of mulNmedia storytelling and contemporary Indian dance theater brings to life womens stories of being silenced and nding voice. Premiering at the Miles Memorial Playhouse in Santa Monica, Post Natyam then performed the show at University of Illinois at Champaign-Urbana, University of Georgia at Athens, University of Wisconsin-Madison and in the NaNonal Asian American Theater FesNval in LA. Post Natyam also presented work at IGNITE FesNval of Contemporary Dance in New Delhi, NET Micro-fest and Bootleg Dance FesNval in LA.

Angela MaaoxB.A. 1999 Angela has been named the new ArNsNc Director of PICA (Portland InsNtute for Contemporary Art). She steps into her new posiNon aXer an 8-year tenure as a performing arts curator with the Yerba Buena Center for the Arts in San Francisco.

Rebecca (Kirsch) Posamen5erB.A. 1999, WAC Honors www.bactheatre.org becca@bactheatre.org

Seda Aybay 2003 B.A. WAC Summa Cum Laude www.kybeledance.com Currently Seda is working on a new piece with her company Kybele Dance Theater, while teaching contemporary classes for adults and teens at Katnap Dance Center, YNS and Yuri Grigorieve School of Ballet.

Rebecca is a founding member and educaNon director for the Bay Area Children's Theatre (BACT) in Northern CA. Founded in 2004, BACT brings high quality theater to family audiences, specializing in literary adaptaNons of great children's books. She direct the educaNon program for children ages 5 - 16 which focuses on ensemble performance and learning life-skills through theater.

Alumni Updates...At WAC/D, we pride ourselveson the unconventional infrastructure that

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Hanni RessB.A. 2005 WAC hanni.rosenfeld@gmail.com Hanni is living in JoBurg, South Africa with partner in crime, Gavi Ress. While wriNng away the hours to nish an M.A. in African Studies, Hanni co-manages a small NGO which organizes weekly food parcels to about 560 local Jewish families in need and volunteers part-Nme with an Art Therapy organizaNon.

community

our department cultivates within a traditional educational setting.

new piece/process for Cornerstone Theater's "Hunger Cycle". In October she will go to Hawaii (Maui and the Big Island) to present Bahu-BeN-Biwi, and to the Painted Bride in Philadelphia in February. She is apart of the steering commi7ee for Artwallah, the South Asian arNsts collecNve here in L.A. (Photo below of Sheetal by Chris Rady)

Contact US!Alongside the alumni initiatives, we are constantly updating out FOW database in an effort to communicate and connect the community at large with WAC/D happenings and news. Whether you are a

Sarri SanchezB.A. 2005 WAC inexdanceproject.com renarts.org Sarri is currently in her sixth year of teaching at Renaissance Arts Academy, an L.A., a public charter school for dance and music, where I co-direct the dance program. She also conNnues to create and perform with fellow WAC alumni Ally Voye, Maya Zellman, and Eva Wilder as IN/EX Dance Project.

student, alumnus, faculty, staff, or Friend of WAC/D, WE want to hear from you and beconnected with

current

YOU!

Vanessa VerdoodtB.A. 2006 WAC M.A. 2010 Performance Studies NYU www.worldancearound.com Vanessa has been teaching dance and theatre in school and aXer-school at Bushwick Community High School for three years while also touring universiNes and theatres across North America with Hip Hop Theatre Dance company Illstyle and Peace ProducNons.

Ali OwensB.A. 2009 WAC Akowens73@gmail.com Ali is the MarkeNng & PromoNons Coordinator for Broadway/L.A. Pantages Theatre. Her responsibiliNes include managing markeNng materials and communicaNons for Broadway/L.A. presentaNons. I also coordinate special events, promoNons and grassroots eorts while overseeing sponsors of the Pantages Theatre.

Please visit our website and click on the link Join Our Mailing List to be plugged into our singularly unique community of artists and scholars here at UCLA.

www.wac.ucla.edu

Sheetal GandhiM.F.A. 2009 sheetal@sheetalgandhi.com Sheetal recently premiered a new one- woman, mulN-media dance theater piece called "Human Nature" as a part of the COLA Grant that she received this year. The performance was held June 17th at Grand Performances in downtown L.A. Currently she is compleNng a residency in Vermont collaboraNng with Dan Froot and Dan Hurlin on their latest puppet-theater project, "Who's Hungry? - Santa Monica". In August and September she will be choreographing for Cal State Northridge's upcoming musical "The 25th Annual Putnam County Spelling Bee", and she is being commissioned to create a

Alumni Updates...Arianne HomannM.F.A. 2010 Choreography ari@showboxla.org showboxla.blogspot.com Besides making new work, Ari works alongside Meg Wolfe to nurture SHOW BOX LA, a new-ish non-prot that rocks your world with ANATOMY RIOT, itch dance journal, and other stunts. Interested in volunteering? Please apply to work with us!

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WACUS

World Arts and Cultures Undergraduate Society! ! ! ! UPDATE: WAC/Dance

Philip NguyenB.A. 2011 WAC, B.A. Earth and Environmental Science Phil is doing an M.S. in Agricultural Sciences starNng fall 2011 at Kyoto University in Japan. He is sNll dancing of course. :) House house house!

by Leanne Iacovetta

Cari Ann Shim Sham*M.F.A. 2009 Cari Ann has just returned from the Cannes lm fesNval with her documentary short Sand. It has screened at 29 fesNvals and was selected by Docuweeks to be showcased in August in Los Angeles at the Arclight theater as part of the Docuweeks program that will qualify the lm for Academy Award NominaNon. She recently wrapped producNon on David Rousseve's lm "2 seconds aXer laughter", and is in post on Rachael Lincoln & Leslie Seiters lm "May & June" and Lynn Dally's NEA archival project for Jazz Tap Ensemble. Her project "Tumbleweed" a collaboraNon with Rachael Lincoln was shortlisted by EMPAC for the 2011 round of funding, grant to be announced shortly. She will direct "Chicken Boy" a dance lm with Jia Wu that will shoot in July and nish by late September.

This past year, the World Arts and Cultures Undergraduate Society (be7er known as WACUS) strove to bring more performance opportuniNes to Kaufman than before. Inspired by all the tools learned in our composiNon classes, we wanted more outlets besides the classroom to showcase our work and arNsNc craXs. So, WACUS developed "Open Marley Night," an informal showing of student work in its preliminary stages. Open Marley Night, in tandem with Culture Crossing and Pau Hana, was one of the main performance opportuniNes for undergrads in the fall, and was highly successful for a rst run. With a desire to collaborate and learn from each other, WACUS hosted a series of master classes, known as the "WAClass" series. WAClass featured classes taught by the undergraduate WAC students themselves who wanted more experience teaching and learning foreign styles of dance. In the winter, undergrads parNcipated in the 11th annual undergraduate showcase, WACsmash! Last years' show was headlined by undergraduate choreographers, dancers, and performance arNsts from the whole department, and this years' show will be even bigger and more diverse. WACsmash 2012 will take place on February 10th, 11th, and 12th. In the spring quarter, seniors shared their blood, sweat, and tears to the community in the annual Senior Showcase Ntled "Alluvium." Undergrads from all classes performed in the show with their peers. The undergrads were also thrilled to get the chance to work with WAC Faculty in the 174B series. The "First Hand" Showcase, which featured performance pracNcums with Vic Marks, David Rousseve, Lionel Popkin, Rennie Harris, and Cheng-Chieh Yu, was a great way to end the year! The undergraduates are thrilled that the department will be bringing back the faculty / guest faculty showcase in spring 2012! We look forward to next year and its challenges and joys!

Leanne Iacoveaa, originally from Columbus, OH, is a senior WAC student with a dance concentraNon and a double major in CommunicaNon Studies. She is the current president of the World Arts and Cultures Undergraduate Society (WACUS), and one of the three producers of WACsmash 2012. She has been a counselor for the UCLA Summer WAC Dance/Theater Intensive for the past three years, and looks forward to working with the program aXer her

Student Updates2011 Summer Hothouse!UCLA Department of World Arts and Cultures held its fth annual Hothouse Program this year July/ August 2011. The Hothouse concept was developed by UCLA faculty VICTORIA MARKS to support the creation of new work by Los Angeles choreographers and to encourage interactive exchange during the creative process.

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WACUS

World Arts and Cultures Undergraduate Society! ! ! ! ! UPDATE: WACWAC

This years artists were:

Ana Maria Alvarez

by Ivy Hurwit

Ari Hoffman

Vickie MendozaStephanie Nugent

During the 2010-2011 school year, World Arts and Cultures majors with a concentraNon in Culture (WACWAC) were involved in a variety of projects, performances, and installaNons. With year-round promoNonal outreach and uncondiNonal support, the department encouraged WAC WACs to share their arNsNc talents and visions within welcoming, collaboraNve environments.

Gema Sandoval

Lailye WeidmanKevin Williamson

Sara WookeyHothouse provides a residency for the creation of new work for six local choreographers at UCLA's Glorya Kaufman Hall. Each choreographer/performance artist is invited to use studio space free of charge for 4 hours/day for three weeks. In exchange for the Hothouse residency, artists are required to share their work through informal presentations on the final day of the residency. Some artists may be further asked to share some part of their work/ creative process with WACD students and faculty during the subsequent academic year. www.wac.ucla.edu/hothouse.php

Students performed in shows, helped co-produce, provided photo documenta5on, and volunteered for Art and Global Health Center projects such as 48 Hours to Ac5on, AMP it Up!, and Through Posi5ve Eyes. WAC WACs also showcased their work through student-run events such as Open Marley Night and WACsmash! Selected seniors displayed their art at the senior showcase, Ntled Alluvium, and were oXen involved with MFA works that debuted at the Fowler Museum. Specic courses, such as WAC 121 IntroducNon to Field-Based Research, and WAC C184 ProducNon Arts Seminar, also strongly encouraged WAC WACs to create their own works. These classes helped students develop original works/projects that focused on each students individual interests, advancing their ideas through an organized format of both research methods and producNon techniques.

All of these projects and courses are just a few of the many experiences in which WAC WACs shared their arNsNc and scholarly talents with the World Arts and Cultures community and the UCLA campus at large.

Onward to 2012 WACWACs!!!

Faculty UpdatesOur faculty here at UCLAare constantly breaking new boundaries in their research and publicaNons year-round. Below is but a minute oering of what WACD professors have been up to this past year...

20 Susan FosterSusan Foster was appointed CreaNve Fellow , a joint appointment with University of Utrecht and Spring Dance FesNval (April 2011). She delivered the keynote address at the Conference on Dance and Theory at Frei Universitaet in April 2011, and presented performances of danced lectures, sponsored by Dance Advance, Philadelphia ( March 2011).

Janet OSheaProfessor OShea just nished her rst foreign language publicaNons. It's for an anthology edited by Yvonne Hardt and MarNn Stern, enNtled Choreography and InsNtuNon.

Anurima BanerjiReceived leave in November-December 2010 to do eldwork in India, to begin the work of converNng her PhD dissertaNon, Odissi Dance: Paratopic Performances of Gender, State, and NaNon, into a book manuscript. She received UCLA Faculty Research Grant, Center for the Study of Women grant, and the Hellman Fellowship to support archival and ethnographic research that will enhance the analysis for the new book. Gave an invited talk at Center for India and South Asia (CISA) in May 2011, ExcepNonal Embodiments: GoNpuas and Gender Performance in Odissi Dance. This illustrated talk historicized the goNpua tradiNon in Orissa, India, where young boys are trained to perform as female dancers on stage, taking on a temporary transgender idenNty. She discussed the emergence of the goNpuas in the context of the rise of the BhakN movement and its complex relaNonship to the category of the feminine. She has begun work on editorial team for the online journal, Manushi: A Journal on Women and Society, based in New Delhi, India. She has been invited to write for a special issue of About Performance; book reviews for American Anthropologist, the Journal of Inetercultural Studies, and Canadian Journal of Women and Law.

Lionel PopkinThis past year Lionel Popkin toured There is an Elephant in This Dance to Minneapolis, Sea7le, and Guongzhou, China. He received grants from the Pun FundaNon, the CHIME Program as a mentor (funded by the Irvine FoundaNon), and the City of Santa Monica Arts Fellowship.

Dan Froot Dans performances of "Who's Hungry - West Hollywood" were presented at the 9th InternaNonal Toy Theater FesNval at St. Ann's Warehouse (NYC). Grants received for "Who's Hungry - Santa Monica" included: the NaNonal Endowment for the Arts Challenge America, MAP Fund, Doris Duke Charitable FoundaNon, Meet The Composer Commissioning Music/USA, USA ArNsts Project Site.

Victoria Marks Victoria Marks, Vice Chair of Undergraduate Aairs, recently returned from South Africa where she parNcipated in the NaNonal Arts FesNval. Marks has just completed Medium Big Inecient Considerably Imbalanced Dance which will be performed at the REDCAT NOW FesNval September 22-24, and Smallest Gesture/Grandest Frame which will be performed at Cal Arts Commuter FesNval October 6 and 7. Recent projects in the department included serving as the faculty coordinator of the departments UC Regents Lecturer residency of Gregory Maqoma overseeing all aspects of the residency, public events, and liaison with the south african consulate and community. She also produced Cotes dIvorian arNst Michel Kouakou and Mozambiquian arNst Panaibra Canda bringing them into WAC classes and culminaNng in performances at Highways Performance Space in Santa Monica. Victoria was the faculty coordinator of the departments 7th annual summer Hothouse, a residency program to support LA arNsts in the creaNon of new work. Five of the nine Hothouse arNsts were WAC alumna. New projects upcoming: AcNon ConversaNons (Vermont), a movement/lm project bringing unwed teen mothers and stake holders in their community together for movement and conversaNon; and a new work If/Then for AXIS dance company in Oakland.

David GereProfessor David Gere on sabbaNcal leave this academic year to complete his wriNng project. This book, yet to be Ntled, is focused on developing substanNal chapters regarding ve discrete projects based on MAKE ART/ STOP AIDS foundaNons he has engaged in these past years. Along with conNnuing his directorship of the Art|Global Health Center, Gere will be working closely with his sta in his projects, AMP IT UP, 48 Hours to AcNon, Through PosiNve Eyes, among others. He also serves as the faculty sponsor for visiNng Fulbright Scholar, Parthiv Shah, who will be teaching a Fiat Lux course, and Photography and Human Rights topics course for the department. Gere recently was the featured faculty in the UC RESEACRH PROFILES site h7p://research.universityofcalifornia.edu/ proles/2011/08/david-gere.html.

Faculty Continued...Allen RobertsDr. Roberts book-in-progress, A Dance of Assassins: Performing Early Colonial Hegemony in the Congo, was awarded a contract by Indiana University Press and is scheduled for publicaNon in late 2012. He oered talks at Boston University, Columbia University, and Ohio University, and this summer he will present results of ongoing research with Dr. Mary Nooter Roberts at an invitaNonal conference at the InternaNonales Forschungszentrum KulturwissenschaXen of Vienna. Dr. Roberts helped organize the 15th Triennial Symposium on African Art at UCLA (March, 2011), and co-chaired a triple panel called ArNstry of African and Diaspora Blacksmiths in anNcipaNon of a major traveling exhibiNon and publicaNon program on the topic that he is planning with three prominent US scholars. Several of Dr. Roberts papers were published over the course of the year, including co-authored with Dr. Mary Nooter Roberts) one for the book accompanying the exhibiNon La Fabrique des images (Muse du Quai Branly, Paris, over in summer and fall, 2010). The Robertses contributed painNngs and images to this exhibiNon, as well.

21 David RoussveDavid Roussve just completed the dance lm Two Seconds AXer Laughter. Wri7en, directed, and co-choreographed by Roussve and shot in Java by WAC MFA Cari Ann Shim Sham*, Two Seconds creates a dialogue on the noNon of home in a transnaNonal world by following the journey of WAC MFA Sri SusilowaN from Indonesian to America. The lm will soon begin playing dance and short lm fesNvals. This summer David also completed a residency at the Krannert Center at the University of Illinois in Urbana- Champaign, IL, and began rehearsals for a new full-evening dance/theater piece for his company REALITY.

David ShorterIn the Fall of 2010, Shorter's book, We Will Dance Our Truth, won the presNgious Chicago Award, co-presented by the University of Chicago and the American Folklore Society for the best folklore book of the year. He was a recipient of a 2010 Arts IniNaNve grant and a 2011 InsNtute of American Culture faculty grant. This la7er grant will fund his current research on Yoeme Indian healing pracNces and language usage.

Mary (Polly) Nooter RobertsDr. Roberts co-authored book, Inscribing Meaning: WriNng and Graphic Systems in African Art received Honorable MenNon for the Arnold Rubin Outstanding PublicaNon Award for the best African Art book of 2008-2011. She coordinated the UCLA African Studies Centers 2011 Fall Quarter Monday AXernoon Speaker Series on ExhibiNng Africa: CriNcal Curatorial PracNce in the 20th Century with Allen F. Roberts, and served on the organizing commi7ee of the 15th Triennial Symposium of African Art; co-chaired a panel ,and delivered a paper enNtled TradiNon is Always NOW. She also presented two lectures on the new project she is conducNng with Allen F. Roberts enNtled The Performance of Looking: HapNc VisualiNes in DevoNonal Diasporas of Shirdi Sai Baba, and was a respondent to South African dancer and UCLA Regents Scholar Gregory Maqomas BeauNful Me performance and presented a paper enNtled Memory and IdenNty at the Threshold. In addiNon, she developed a new course enNtled IntroducNon to Museology: ExhibiNons and EducaNon with Culture and Performance graduate student Cesar Garcia.

Cheng-Chieh YuCheng-Chieh Yu, received a 2010 Cultural Exchange InternaNonal Award, and a Taiwanese Cultural Council Grant. In 2010 Yu presented work in China, Taiwan and Germany. In 2011 Yu will be returning to China to complete a repetoirie commission with the Guangdong Modern Dance Company, and is invited to premiere "The Good Person" a dance for camera at the Jumping Frames Dance Video FesNval in Hong Kong.

Simone ForNSimone performed her early works at the Hayward Gallery, London (Oct 2010) and the Haus der Kunst, Munich (Feb 2011). She also had a full evening of new and early work at the Los Angeles Museum of Contemporary Arts (Jan 2011). She also eceived a Yoko Ono Lennon Courage Award in the Arts (Feb 2011).

CentersUCLA CENTER FOR INTERCULTURAL PERFORMANCE Judy Mitoma, Director www.wac.ucla.edu/cip

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The Center for Intercultural Performance (CIP) is dedicated to performing arts research and experimentaNon that promotes be7er understanding and appreciaNon across cultures, emphasizing internaNonal exchange, creaNve collaboraNon, research and publicaNons, and lm/video documentaNon. WORLD FESTIVAL OF SACRED MUSIC October 1 16, 2011 Throughout Los Angeles Recognizing music as an expression of humanity's most profound aspiraNons and as a way to transcend borders of all kinds linguisNc, naNonal, cultural, ideological, racial and religious the 2011 World FesNval of Sacred Music is the result of an outpouring of interest and enthusiasm from community partners and arNsts who parNcipated in past FesNvals in 1999, 2002, 2005 and 2008. The World FesNval of Sacred Music, sixteen days with thirty-two events, is founded on the belief that sacred music has the ability to bring forth our shared human values of peace, understanding, and respect for all living things. The FesNval is not a commercial venture, nor does it promote or endorse any poliNcal or religious agenda. Oering an alternaNve, community-oriented model to the corporate values that dominate the entertainment culture of Los Angeles, the FesNval provides opportuniNes for people to come together and invesNgate issues of tolerance and diversity within our complex, urban environment. For more informaNon visit www.fesNvalofsacredmusic.org or use your smart phone and click on the QR code below and be connected directly to the website.

WATER IS RISING Ar5st Alphabet and Panel on the Environment Thursday, October 13, 2011 TBA Kaufman Hall Room 200 Free Admission World Premiere Performance Saturday, October 15, 2011 7 p.m. Royce Hall For 5ckets call 310-825-2101 or visit www.uclalive.org

Performance and purpose collide in this powerful American stage premiere that illuminates the plight of the Pacic Islands. ScienNsts report the vulnerable coral atolls of KiribaN, Tokelau, and Tuvalu are already experiencing rising sea levels as a result of global warming and climate change. Thirty-six dancers and musicians express their deep connecNon to nature and their ancestral past through mulN-part harmonies, poetry, and gracious movement cascading over dynamic rhythms inspiring us all to be be7er stewards of our shared planet. Water is Rising harnesses the power of performance art in an impassioned plea for global awareness and environmental change. AXer the Royce Hall performance, Water is Rising conNnues on a 14-city U.S. Tour to conNnue the global awareness of these atolls. A project of the UCLA Center for Intercultural Performance in collaboraNon with FoundaNon for World Arts, UCLA InsNtute of the Environment and Sustainability, and EarthWays FoundaNon. For more informaNon on Water is Rising and the countries represented and issues related to climate changes, please visit our website www.waterisrising.com or use your smart phone and click on the QR code below and be connected directly to the website.

UCLA CENTERSUCLA CENTER FOR ART AND GLOBAL HEALTH David Gere, Director h7p://artglobalhealth.org/

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Last year, the UCLA Art and Global Health Center produced a variety of projects centered in Los Angeles that would combat health issues with the power of art. AMP it up! started preparaNon in Fall 2010 and by winter quarter was ready to embark on a journey around the LA area. AMP it up! is an arts-based sexual health educaNon program inspired by the AIDS Performance Team and World AIDS Day. The project connected with eleven LAUSD high schools and provided HIV-posiNve speakers, condom demonstraNon and negoNaNon workshops, and a humorous educaNonal performance by a group of UCLA undergraduates, newly named The UCLA Sex-ed Squad. The UCLA Sex-ed Squad performed for over 2,000 9th grade students while the speaking groups lectured to over 1,500 9th grade health students. To include visual art to the AMP it up! project the Center collaborated with professional graN arNsts to execute a mural project for each parNcipaNng school. The murals turned out to be absolute works of art and included direcNons to the nearest tesNng clinic as well as the nearest place to obtain condoms from each high schools neighborhood or campus. These murals were given to each high school and were placed in a visible area on each campus. The Art and Global Health Center stepped away from LAUSD to conNnue a dierent project that was enacted prior to this year in Brazil, Mexico and South Africa. It was Nme to execute Through PosiNve Eyes in Los Angeles. Reaching out to the HIV-posiNve community of Los Angeles, they promoted an inspiraNonal HIV photography workshop to a diverse group of individuals living with the HIV/AIDS epidemic. Once chosen, the parNcipants were given a camera and several workshop days with the renowned photographers Gideon Mendel and Crispin Hughes, where they learned to tell their stories through photography. The project was based on the belief that challenging sNgma against people living with HIV/AIDS is the most eecNve method for combaNng the epidemic and that art is the most powerful way to do this type of work. At the end of the ten days, families and friends of the parNcipants came together to view an exhibiNon of the nal work in UCLAs Kaufman Hall, where they shared stories, photography and delicious Thai food. As the new school year approaches, the Art and Global Health Center is excited to expand both the AMP it up! and Through PosiNve Eyes projects. The AMP it up! project will reach double the amount of LAUSD schools and hopes to receive a grant that will allow for a full-edged research opportunity for the program. The Center also has plans to expand the AMP it up! project to three UniversiNes in the U.S. South in fall of 2012. StarNng from scratch, the program will be reworked to challenge the sexual health and HIV/AIDS issues that arent currently addressed around the U.S. South. Goals for Through PosiNve Eyes plans include the planning of a U.S. traveling exhibit as well as becoming an online source for the AMP it up! project. The expansions of these projects will conNnue to make a dierence in even more ciNes providing art as a method for social change and posiNve health.

Giving!

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GIVING TO WAC/Dance Join in Giving to WAC/D: Your gixs, small or large, will make a dierence in the lives of our students and our future in the elds of arts &cultures and dance. To make a giX, please designate the desired fund on your check made payable to UCLA Founda5on send to: 10920 Wilshire Blvd., Suite 1100, Los Angeles, CA 90095-6516. For informaNon about donaNng online please visit us at: h7ps://giving.ucla.edu/Standard/ NetDonate.aspx?SiteNum=37 There are both specic scholarship and general funds that you may designate where your contribuNons should go. The following are departmental scholarship funds that you have generously contributed to in the past (and into the future!): 1. 2. 3. 4. 5. 6. 7. Department of WACD Scholarship general scholarship support for undergraduate or graduate students; nancial need and merit-based. Department of WACD Fund (Unrestricted) - Chairs discreNonary support of departmental programs and scholarships. Department of WAC/Friends of Folklore Fund unrestricted support of programs and acNviNes sponsored by Friends of Folklore under the auspices of World Arts and Cultures/Dance. Carl Patrick Memorial Scholarship Fund general scholarship support for undergraduate or graduate students; to honor Carl Patricks unagging devoNon to educaNon at UCLA. Flourish FoundaNon Scholarship For excepNonal undergraduate dance students, whose work demonstrates a focus on community arts, social jusNce, and/or dance educaNon. Jean Irwin Scholarship for talented graduate and undergraduate dance students from underrepresented backgrounds, with a concern and awareness of social jusNce in the world. Medha Yodh Memorial Scholarship - fellowship support for graduate students from non-western dance backgrounds in the Department of World Arts and Cultures/Dance. emphasis.Type to enter text

8. Sandra Kaufman Memorial Scholarship For undergraduate or graduate students with a dance

Much graNtude goes to all who have contributed to department! The faculty envisions many possibili4es for the future of this department but we must remain vigilant in our eorts to actualize these dreams. This year we have to reduce stang, and student and program support yet again. Unrestricted funding creates opportuni4es to meet the departments greatest needs. Any contribu4on small or large are welcomed. We thank those who have made that contribu4on and encourage all to do so!

AcknowledgementsThank you to all who have contributed!

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The Department gratefully acknowledges your support as alums, current students, parents of students, faculty, emeriN, and friends of World Arts and Cultures/Dance and associated centers. We especially acknowledge the Flourish Founda5on whose scholarship contribuNons provide individual quarterly registraNon fees for selected students, and to the Stars donors noted below who have commi7ed signicant funding in support of the Art | Global Health Center. Much appreciaNon goes to the parents of our students who have conNnued the tradiNon of supporNng their children throughout their childhood to their current studies here: from PTAs to team sports, to arts clubs your contribuNons make a dierence! The following below details and acknowledges donaNons received from July 2010 - August 2011.

Donors 2010-2011Friends ($10 to $299)Ms. Lisbeth C. Bagnold Ms. Michelle E. Boehle Ms. Kristin L. Brown Mrs. Marryl D. Cahill Campbell Communications Mr. Ernest Castro, Jr. Miss Eveline D. Chang Ms. Tania Chelnov-Snitow Mr. Wei Chen Mr. Vincent M. Cummings Mrs. Paula J. Donahoe The Doyle/Logan Company Ms. Diane Duncan Ms. Janine Elliott Mrs. Brenda Freiberg Mr. Howard M. Gordon Ms. Cheryl Groah Ms. Celisse G. Johnson Ms. Sandra Jung Mr. Kevin S. Kayse Mr. Tom Keegan Ms. Casey K. Kim Mr. Steve C. Kimball Angelia Leung/Hap Palmer Ms. Mary A. Lombardo Mrs. Jeanette E. Marbert Ms. Judith Mitoma Mrs. Christina L. Ngo Ms. Dara M. Paprock Mrs. Sharon Parker-Frazier Ms. Mysoon Rizk Ms. Kate Rosloff David Rousseve Ms. Sarri A. Sanchez Mr. David A. Smith Mrs. Madeleine B. Stanicci Mrs. June T. Watanabe Ms. Rebecca Y. Wei Dr. Katrina Dornig Flourish Foundation Mrs. Lori Buffalow Fonzi Gilead Sciences, Inc. Mr. Jim L. Hooker Jewish Federation of Nashville & Mid Tennessee Cavalier Fd Johnson & Johnson Ms. Soo Jin Kim Ms. Cynthia J. Moe Resnick Family Foundation, Inc Soros Foundations Network Mr. Bruce Vaughn

Patrons ($300 to $999)Mr. Greg Ekstrom Ms. Lisa M. Henson Mrs. Hannah G. Kramer Mr. Matthew J. Nelson Mr. Joe Nguyen

Special acknowledgements go to our Stars!

(Beyond $10,000)

Clarence and Ann Dillon Dunwalke Trust The Ford Foundation The David & Linda Shaheen Foundation The Andy Warhol Foundation for the Visual Arts The Herb Ritts Foundation

Benefactors ($1000 to $10,000)Mr. Steven M. Byrnes Mr. Daniel S. Cliff

UCLA World Arts and Cultures/DanceDepartmental ChairAngelia Leung Simone ForN D. Sabela Grimes Rennie Harris Ginger Holguin Michel Kouakou Jackelyn Lopez Patrick Polk Viji Prakash Carolina San Juan Parthiv Shah Joel Smith Lorrie Snyder Willy Souly Natsuo Tomita Jason Tsou Roslyn Warby Hesen Weiren

IS:StaffArsenio Apillanes, Facili5es Manager Tony Arias, Video Lab Manager Larry Blanco, Student Aairs Ocer Ginger Holguin, Public Events Manager Daniel Millner, Management Services Ocer Muriel Moorhead, Accoun5ng/Payroll Silvily Thomas, Scheduling and Academic Personnel Lorrie Snyder, Technical Support Lilian Wu, Assistant to Chair

Vice-ChairsVictoria Marks (Undergraduate Affairs) David Delgado Shorter (Graduate Affairs)

FacultyAnurima Banerji Susan Leigh Foster Dan Froot David Gere Angelia Leung Victoria Marks Peter Nabokov Janet O Shea Lionel Popkin Allen Roberts Mary (Polly) Roberts David Rousseve Peter Sellars Aparna Sharma David Delgado Shorter Christopher Waterman Cheng-Chieh Yu

Art Global Health Center StaffDavid Gere, Center Director

EmeritusDonald CosenNno Lynn Dally Elsie Dunin Irma Dosamantes-Beaudry Pia Gilbert Michael Owen Jones Judy Mitoma Colin Quigley Marta Savigliano Allegra Fuller Snyder Emma Lew Thomas

Robert Gordon, Program/Outreach Coordinator Lauren Gould, Producer Elisabeth Millicam, Oce Coordinator

Center for Intercultural PerformanceJudy Mitoma, Center Director Marcia Argolo, Associate Director Anuradha Kishore Ganpati, Director of Development and Communications Philip Graulty, Program Coordinator

Lecturers, Visi5ng and Adjunct ProfessorsRosemary Candelario Robert Een Robert Gordon

Photography Credits: Rose Eichenbaum www.rosesfoto.com Jorge Vismara www.jorgevismara.net Lillian Wu Je Poirier

Many thanks to all the students, faculty, and staff for their unending devotion and leadership that create the unique environment of inclusive learning and activism so unusual in WAC/Dance.

EditorsElizabeth Terschuur Angelia Leung 2009/2011 Sara Wookey Angelia Leung 2010

Graphic DesignElizabeth Terschuur (2009, 2011) Sara Wookey (2010)