THE GHOST FESTIVAL. Co-present. Tuesday, July 12-Thursday, July 14 at 8:30pm 21c Museum Hotel and CCB Plaza

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1 Co-present THE GHOST FESTIVAL Performed by Koma Otake An Installation and Dance by Koma Otake of Eiko and Koma Tuesday, July 12-Thursday, July 14 at 8:30pm 21c Museum Hotel and CCB Plaza Performance: 60 minutes including intermission

2 The Ghost Festival The Ghost Festival is the first multi-disciplinary solo project by artist Koma Otake, one half of the performance artists Eiko & Koma. Using a mobile trailer, Koma presents a gallery of works meant to be both an interactive visual art installation as well as a performance space. Koma envisions a meditative and communal space to honor the connection between past and present and provide a home for lost spirits. Choreography, concept, and design by Koma Otake. Music in Show Order "Poema" Ciege Ventarron Choclo Carlos Di Sali INTERMISSION Owarabushi Konoyowoodore Invierno Japanese folk song Kazuki Tomokawa The development of this work was made possible through the Alan M. Kriegsman Creative Residency at Dance Place. Made possible through the generous support of the Doris Duke Charitable Foundation. ABOUT THE ARTIST Raised in Japan and based in New York since 1976, TAKASHI OTAKE has collaborated with Eiko for 40 years. Known as Eiko & Koma, they hand craft every aspect of their works. They created three living gallery installations: Breath (1998) for the Whitney Museum, Naked (2010), for the Walker Art Center, and The Caravan Project (2013) for MoMA. Their multi-faceted Retrospective Project ( ) consisted of new and restaged works, exhibitions, media works, and a monograph of their works, Eiko & Koma: Time is Not Even, Space is Not Empty, published by the Walker Art Center. In 2012, they began the Archive Project to curate their own legacy. Among other honors, they were awarded Guggenheim Fellowships (1984), two "Bessie" Awards (1984, 1990), a MacArthur Genius Fellowship (1996), an inaugural USA Fellowship (2006), Samuel H. Scripps American Dance Festival Award (2004), and the Dance Magazine Award (2006) for lifetime achievement in modern dance. Most recently, Koma was honored to be among the first round of artists selected for the Doris Duke Performing Arts Awards (2012). Since 2014, Koma has been working on his first multi-disciplinary solo project, The Ghost Festival, using a mobile trailer, an interactive visual art installation, and a performance space.

3 Co-present TRAJAL HARRELL Tuesday, July 19-Thursday, July 21 at 7:30pm Sheafer Theater at Duke Performance: 50 minutes

4 JUDSON CHURCH IS RINGING IN HARLEM (MADE-TO-MEASURE)/ TWENTY LOOKS OR PARIS IS BURNING AT THE JUDSON CHURCH (M2M) Choreography Performers Costume Design Soundtrack Trajal Harrell Trajal Harrell, Thibault Lac, Ondrej Vidlar ComplexGeometries Trajal Harrell Twenty Looks or Paris is Burning at The Judson Church is a series of works which take a new critical position on postmodern dance aesthetics emanating from the Judson Church period. By developing his own work as an imaginary meeting between the aesthetics of Judson and those of a parallel historical tradition, that of Voguing, Trajal Harrell re-writes the minimalism and neutrality of postmodern dance with a new set of signs. "What would have happened in 1963 if someone from the voguing ball scene in Harlem had come downtown to perform alongside the early postmoderns at Judson Church?" is the central question in all the works in the series. Twenty Looks or Paris is Burning... will be produced in seven sizes, from extra small (XS) to extra large (XL). Rather than illustrating a historical fiction, these new works transplant this proposition into a contemporary context. What we experience was neither possible at The Balls nor at Judson. In the construction of an imagined audience that of a 1963 Judson Church Dance Theater audience in the minds of a real audience today, OR put in another way, in the distance between who we imagine a work is being performed for and its actual performance for those present, what kind of new relations can be created, adapted, and reassigned between performer(s) and audience? Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M) is the custom-made size in the Twenty Looks or Paris is Burning at the Judson Church project. Only, in this made-to-measure size, the proposition is inverted and the question becomes, What would have happened if one of the early postmoderns from Judson Church had gone uptown to perform in the voguing ballroom scene in Harlem. Again, rather than illustrating a historical fiction, what we experience was neither possible at The Balls nor at Judson, but a third possibility is created, here and now. In Judson Church is Ringing in Harlem (M2M), Harrell makes a full-evening work for three dancers which engages the formalism and minimalism of postmodern dance with the flamboyancy and performativity of voguing. Combining these contrasting styles, Harrell repositions the influence of jazz, funk, and rhythm-and-blues on improvisation in early postmodern dance. Likewise, aesthetic and social discourses are transformed when the postmodern dance pedestrian vocabulary of sitting and standing are re-imagined in the context of a Judson Church gathering in Harlem. By using the inherent contrasts in these two aesthetics and the forms embedded in African-American church services, Harrell surprisingly generates a contemporary experience in the continuum and spirit of early American dance. It's the return of high drama and emotion.

5 Co-Production: Danspace Project for Platform 2012: MoMA PS1, and Hau Hebbel am Ufer. Residency support provided by Impulstanz Vienna International Dance Festival. The commission for Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M) is made possible by MoMA s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation and by Danspace Project s Commissioning Initiative, which receives major support from The Andrew W. Mellon Foundation. TRAJAL HARRELL became well-known for the Twenty Looks or Paris is Burning at The Judson Church series of works which theoretically juxtaposed the voguing dance tradition with the early postmodern dance tradition. He is now considered as one of the most important choreographers of the new generation. Trajal Harrell s work has been presented in many American and international venues including The Kitchen (NYC), New York Live Arts, TBA Festival (Portland), Walker Arts Center (Minneapolis), American Realness Festival, ICA Boston, Philadelphia Fringe Festival, LA s RedCat Theater, Festival d Automne (Paris), Holland Festival (Amsterdam), Festival d Avignon, Impulstanz (Vienna), TanzimAugust (Berlin), and Panorama Festival (Rio de Janeiro), among others. He has also shown performance work in visual art contexts such as MoMA, MoMA PS1, Perfoma Biennial, Fondation Cartier (Paris), The New Museum (New York), The Margulies Art Warehouse (Miami), Stedelijk Museum (Amsterdam), Serralves Museum (Porto), The Barbican Centre (London), Centre Pompidou Paris and Metz, ICA Boston, and Art Basel Miami Beach. His work Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M), has the distinction of being the first dance commission of MoMA PS1. He has been awarded the Guggenheim Fellowship and The Doris Duke Impact Award, as well as fellowships from The Foundation for Contemporary Art, Art Matters, and the Saison Foundation, among others Currently engaged in a two-year Annenberg Residency at MoMA, he is turning his attention to the work of the Japanese founder of butoh dance, Tatsumi Hijikata. By looking at butoh through voguing's theoretical lens of "realness," Harrell is creating a number of works which combine a speculative view of history and the archive with contemporary dance practice and composition. Caen Amour, premiering in July 2016 at Festival Avignon, will be the latest creation in this new artistic period of his work, following Used Abused and Hung Out to Dry premiered and commissioned by MoMA in February 2013, The Ghost of Montpellier Meets the Samurai premiered in Montpellier Danse Festival in July 2015, The Return of La Argentina premiered in Paris Centre National de la Danse and commissioned by MoMA, and most recently In the Mood for Frankie premiered in May 2016 at MoMA.

6 ONDREJ VIDLAR, born in the Czech Republic, has trained in Latin, modern, and contemporary dance. He studied and graduated from Performing Arts Research and Training Studios (PARTS) in Brussels, Belgium in Vidlar is currently living in Belgium and is active as a freelance dancer, teacher, performer, choreography assistant, collaborator, body worker, and production manager on projects in Belgium, France, Russia, Brazil, China, Germany, USA, Austria, and other countries. He has worked and collaborated with Trajal Harrell since THIBAULT LAC studied architecture before completing the Performing Arts Research and Training Studios (PARTS) program in Brussels. Alongside his studies, he performed with the professional cast of The Show Must Go On by Jérôme Bel and assisted Tino Sehgal for preparations on his 2010 exhibit at the Guggenheim Museum in New York. He has performed in the works of Daniel Linehan, Noé Soulier, Eleanor Bauer, Mathilde Monnier, Alexandra Bachzetsis, and theater director Daniel Jeanneteau, among others. He has taken part in several sizes of Trajal Harrell's project Twenty Looks or Paris is Burning at the Judson Church, for which he was lauded by the New York Times. Thibault Lac was a recipient of French Institute's Hors Les Murs program for This year he has been seen in Harrell's most recent works The Ghost of Montpellier Meets the Samurai, Caen Amour, and In the mood for Frankie. Co-present Talk with Trajal Harrell at The Nasher Museum of Art Thursday, July 21 at 5:00pm

7 DIRECTOR S CIRCLE ($5,000 - $9,999) American Tobacco Campus* Richard and Ford Hibbits PRODUCER ($3,000 - $4,999) Mary Love May and Paul Gabrielson LEADER ($1,000 - $2,999) Sharon M. Connelly Jimmy John s* Joe Van Gogh* Laura and Bob Gutman Gerri Houlihan^ Thomas S. Kenan, III The Palace International* Francine and Benson Pilloff Angela Sessoms^ ADDITIONS TO THE 2016 ADF CONTRIBUTORS As of July 1, 2016 INVESTOR ($500 - $999) Gay Bradley and Gerry Riveros Mary Regan Ponysaurus Brewing* PARTNER ($250 -$499) Black Twig Cider House* Evelyn S. Bloch, Bill Neal, and Thea Bloch-Neal Linda Y. Cooper Guglhupf Bakery, Café & Restaurant* Jackson Family Wines* Jane Kestenbaum, Stewart Johnson Landmark Vineyards* Ste Michelle Wine Estates* Donald and Claire Stone PATRON ($100 - $249) Kimberly Blackwell Glenna Batson Kayla Briggs Ann and Bob DeMaine Cameron J. Erens Craven Allen Gallery, House of Frames* Muki W. Fairchild, Charles Keith John and Lucy Grant Thurman Grove Brian E. Hogg Lori Jones^ Vance and Catherine Kramer Sid Klotz and Richard Elmore Melissa Sheridan Lomax Rikki Mangrum Jeanne and Brian Murray Dabney and Walker Sanders Hugh Tilson Robert W. Upchurch SUPPORTER (<$99) Tim Alwran Rachel Ash^ Letty Bassart Alex and Ann Gordon Bruce Kendall Winkie Laforce Thomas Marriott Ellen DeWitt Stone Dana Stone CONTRIBUTOR KEY ^ Matched by the SHS Foundation * In-Kind Community Partner ADDITIONS TO THE ADF BEHIND THE SCENES Dana Livermore...Assistant Studio Manager