Marc Bamuthi Joseph

/peh-LO-tah /

photo: Graphic D

esign by Christine M

arie

This latest multi-disciplinary performance work by award-winning poet-performer Marc Bamuthi Joseph links culture and sport to the complexities of soccer as a conduit for both global joy and global corruption. Based on his experiences as a child of Haitian immi-grants playing the game in the U.S., and the journals of his travels to the World Cups in South Africa and Brazil, /peh-LO-tah/ brings Joseph’s explosive hip-hop style to bear on the political, economic, and social significance of the spinning ball (“pelota”) we call earth. It is, as quoted by Joseph himself, “a dance about the economy, choreographed to the rhythm of the beautiful game.” Joseph’s spoken word poems and charismatic storytelling will form the base of a theatrical experience featuring live music and choreography inspired by South African and Brazilian movement styles and techniques from the soccer field.

Integrating shadow animation designed by TED Fellow Christine Marie, /peh-LO-tah/ is performed in multiple dimensions: through the moving bodies of the poets/ musicians/dancers on stage, and through silhouette and 3-dimensional shadow, all against a vibrant background of filmed imagery and video projection. Live music ranges from gospel to African-American spirituals; Bossa Nova to Brazilian carnival; and beatboxing and Hip Hop.

Beyond the show, /peh-LO-tah/ features a powerful education and outreach component, engaging immigrant youth in soccer “clinics” and writing workshops, and academia with discussions around global economies, gentrification, and sports as politics.

Marc Bamuthi Joseph/peh-LO-tah /

photo: Graphic Design by Christine Marie

photo: Marc Bunathi Joseph

artist statement

The two places on earth I actually feel free aren’t coordinates, they’re moments. The first is inside of dance, somewhere between rising up against gravity and a sensation that the air beneath my body is falling in love with its weight… carrying me so that I might never come down. The second place is after scoring a goal on the soccer pitch, wherein my body floods with the chemical they bottle up in epi-pens to revive the dead… I am weightless… raceless…

Over time, as my questions have deepened and grown more emotionally charged, I’ve charted a path of inquiry that connects macro issues of economy to personal confrontations with my own body as a positioned figure in both the language of sport and art. This path has taken me to South Africa, Brazil, soccer capitals across Europe, local leagues across the U.S.; moving forward on a hypothesis that links local and global economic hierarchies to behaviors, allegiances, and government investment in the infrastructure of the world’s game. My plan is to draw concurrent narrative maps through this research leading to writing and dramaturgy of this new work.

/peh-LO-tah/ explores the ecology of egalitarianism played out inside the world’s game. It is a story of my body in its late summer years; the physics of a globally networked economy running in tandem with the fragile network of a dancer’s anatomy. It is a bet that visible bodies and dramatized shadows, as conjured by artist Christine Marie, can co-exist as complementary modes of narration; that sweat will have as much currency as silhouette to transition both narrative point of view and visual dimension. For my company of collaborators, it is a structural experiment: physically demanding, visually deft, viscerally reaching, and linguistically twisted in hip hop and hope.

Ultimately, I’m intrigued by the elusive riddle of equality, and am fascinated by the curiosity that soccer is the only thing the entire planet can agree to do together. It is the official sport of this spinning ball. My inquiry involves the joy of the game against the complexity of the global south sites of the last two World Cups. It acknowledges that all conversations tied to ecology are ALSO tied to democracy and economy. The work is sprung from the bliss of a goal scorer’s run; it shares what his countrymen do after the ball beats the goalie, the closest thing going to freedom…

— Marc Bamuthi Joseph

photo: John Coyne

Marc Bamuthi Joseph is one of America’s vital voices in performance, arts education, and artistic curation. After appearing on Broadway as a young actor, Joseph teamed up with long-time producer MAPP International Productions and has written and performed in a series of poetically-based works for the stage that have toured across the U.S., Europe, and Africa. These include Word Becomes Flesh, Scourge, and the break/s: a mixtape for stage, which co-premiered at the Humana Festival of New American Plays and the Walker Arts Center in 2008, and toured to 14 U.S. cities throughout 2010. His full-evening theater work, red, black & GREEN: a blues (also produced by MAPP International) premiered at the Yerba Bue-na Center for the Arts in 2011 and will have its final performances in fall 2015 after engagements in 13 U.S. cities. red, black & GREEN: a blues was nominated for a 2013 Bessie Award for “Outstanding Production of a work stretching the boundaries of a traditional form.” Word Becomes Flesh, originally performed as a solo, was re-mounted as an ensemble work in December 2010 as part of the National Endowment for the Arts’ “American Masterpieces” initiative, and will have toured to 21 U.S. cities by April 2014.

Among Joseph’s commissions are the libretto for Home in 7 for the Atlanta Ballet in 2011; the libretto and lyrics (with composer Daniel Bernard Romain) on a new work for Opera Philadelphia’s “Hip H’Opera Project; and the new theater work for South Coast Repertory Theater’s “Crossroads Commissioning Project.” At Intersection for the Arts in San Francisco, he directed Dennis Kim’s Tree City Legends in 2012, and Chinaka Hodge’s Mirrors in Every Corner in 2010.

Joseph was one of 21 artists to be named to the inaugural class of Doris Duke Artists in 2012, as well as a recipient of the inaugural United States Artists Rockefeller Fellowship in 2007. He was the 2011 Alpert Award winner in Theater and recipient of the 2006 Gerbode Emerging Playwright Award. In fall 2007, he appeared on the cover of Smithsonian Magazine after being named one of “America’s Top Young Innovators in the Arts and Sciences.” His works have been supported by grants from the National Endowment for the Arts, Creative Capital Foundation, The Ford Foundation, The Hewlett Foundation, The Joyce Foundation, The MAP Fund, The New England Foundation for the Arts, and The Zellerbach Family Fund, among others.

Publication of Joseph’s plays includes red, black & GREEN: a blues published in “Theater, Volume 42, Number 3,” Duke University Press on behalf of the Yale School of Drama/Yale Repertory Theatre (2012); the break/s: a mixtape for stage published in “Humana Festival 2008: The Complete Plays,”(Playscripts, Inc, 2009); and Word Becomes Flesh published in “Playz from the Boom Box Galaxy: An Anthology for the Hip Hop Generation,” Theatre Communications Group (2009). His essays have been published in “Cultural Transformations: Youth and Pedagogies of Possibility,”(Harvard Education Press, 2013); and “Total Chaos: Next Elements,” (Basic Civitas, 2007).

A gifted and nationally acclaimed educator and essayist, Joseph has lectured at more than 200 colleges and universities, been a popular commentator on National Public Radio, and has carried adjunct professorships at Stanford University, Lehigh University, Mills College, and the University of Wisconsin. He is Artistic Director Emeritus of Youth Speaks, where for a decade he mentored young writers and curated the Living Word Festival and Left Coast Leaning. He co-founded “Life is Living,” a national series of one-day festivals designed to activate under-resourced parks and affirm peaceful urban life through hip hop arts and focused environmental action. Joseph currently serves as Director of Performing Arts at Yerba Buena Center for the Arts in San Francisco.

artist biography

collaborator biographies

Michael John Garcés (Director) is the Artistic Director of Cornerstone Theater Company (Los Angeles, CA). Directing credits include California: The Tempest, Plumas Negras, Café Vida, Oedipus El Rey and the 10th Anniversary production of N.E. 2nd Ave. He has directed works at Contemporary Theater, Humana Festival, New York Theatre Workshop, INTAR, and more. He is a company member at Woolly Mammoth Theater (Washington, DC), where projects he has helmed include Lights Rise on Grace, The Convert, and We Are Proud to Present. Past awards include a Princess Grace Stat-ue, an Alan Schneider Director Award, and a TCG/New Generations grant. He serves on the Executive Board of the Society of Stage Directors and Choreographers. As Director of the break/s and red, black & Green: a blues, Garcés rejoins Bamuthi’s team as the Director of the new work /peh- LO-tah/.

Christine Marie (Shadow Scenic Designer) is an integrated media artist, director and TED Fellow who creates original lo-fi spectacles of large-scale cinematic shadow theater. She integrates performers, objects and hand-made special effects to elicit connections with concepts, phenomenology and history in emotional and visually stimulating experiences. She studied Wayang Kulit traditional shadow puppetry in Bali, is a former member of ShadowLight Theater, and has received an MFA from the California Institute of the Arts in Integrated Media, Puppetry and Theater. She has taught shadow theater for over a decade and often lectures, consults, and conducts workshops for theater companies, film studios, universities and schools, including Pixar and DreamWorks.

Stacey Printz (Choreographer) is the director of the Printz Dance Project (PDP) and received her sociology and dance degrees from UC Irvine. She teaches throughout the Bay Area, St. Mary’s College, Sonoma State University and conducts master classes and workshops for Universities and studios across the United States and internationally, including New York, Memphis, Colorado, Switzerland, Lithuania and Netherlands, to name a few. She has collaborated with Marc Bamuthi Joseph’s Scourge, the break/s and red, black & Green: A blues. With degrees in sociolo-gy and dance from UC Irvine, Printz has received numerous awards and grants including Zellerbach Family Foundation, the W&F Hewlett Foundation, Fort Mason Foundation, and is the recent recipient of the New Work Fellowship from the Marin Arts Arts Council.

photo: Shae Rocco

collaborator biographies

Tom Ontiveros (Lighting Designer) designs with light and projection for theatre, dance, and live music. His design for Completeness was nominated for Best Lighting Design (2014) by the Los Angeles Ticketholders Awards. Other recent work includes Happy Days with Brooke Adams and Tony Shaloub (2014 Ticketholders Awards, Top 10 Revival Productions) and ¡Figaro!:(90210) for the LA Opera. Tom collaborated with Bob Balaban on the New York Premiere of The Exonerated (2003 Lucille Lortel & Dra-ma Desk Award for Unique Theatrical Experience & the Outer Critics Circle Award: Outstanding Off-Broadway Play). He is a three-time recipient of the Dean Goodman Award for Lighting Design and was featured in San Francisco’s Callboard magazine. He designed the lighting for the inaugural Tune In Festival at the Park Avenue Armory curated by the Eighth Blackbird Ensemble and featuring Bora Yoon, Paul Haas, Paul Fowler, Newspeak, Red Fish Blue Fish, John Luther Adams, the Argento Chamber Ensemble and others. Other designs include Schick Machine composed by Paul Dresher and starring Steve Schick at the Hong Kong Cultural Centre. His work has appeared at the Hungarian National Theatre Festival in Cluj, Romania, the International Festival of Arts and Ideas in New Haven, The Ojai Music Festival, Phoenix Symphony, Marin Theatre Co., Intersection for the Arts, The Magic Theatre, San Diego Museum of Art, Chicago Museum of Contemporary Art, Cleveland Playhouse, SUSHI Performing Arts, The Japan America Theatre, Mondavi Center, South Coast Rep, La Jolla Playhouse, The Chocolate Factory in Long Island City, The Joyce SoHo, St. Marks Church, The Ontological-Hysteric, The Culture Project and 3LD in NYC and others. Tom is an Assistant Professor of Lighting Design at the University of Southern California.

David Szlasa (Media and Video Designer) is a versatile media, video and public art designer. His work revolves around ideas of remix and re-appropriation, using popular imagery, ideas, and actions in unexpected ways to challenge structures of authority and question social standards. He is recipient of numerous awards and grants including a Gerbode Award, Kenneth Rainin Foundation NEW Program grant, CCI Investing in Artists grant, Future Aesthetics Artist Award, Zellerbach Grant, Light Artists in Dance Award, CA$H Grant, Siff Grant and commissions from the Nation-al Science Foundation / UC Berkeley, to name a few. Szlasa holds a BFA in Theater from NYU Tisch School of the Arts and an MA in Integrations of New Media and Performance from NYU Gallatin School of Interdisciplinary Studies. His work has been presented worldwide in galleries, theaters, and public spaces, and he has collaborated with the likes of Marc Bamuthi Joseph, Sara Shelton Mann, Joanna Haigood, Dohee Lee, Yuri Zhukov, Hope Mohr, Bill Shannon, Rennie Harris, Deb Margolin, Myra Melford, and others.

performer biographies

photo: FEMI

Yaw Agyeman has performed on both theatrical and musical stages. As an actor Yaw has had the privilege to work with such prolific playwrights as Ntozake Shange, Paul Carter Harrison and Robert O’Hara. In music Yaw has shared the stage with the likes of Stevie Wonder, Roy Ayers, Floetry, Jaguar Wright, Kindred, Amel Larrieux and has backed up Eric Roberson and Liz Fields in several concerts. He is also a mem-ber of Black Monks of Mississippi, an artistic collaboration led by Theaster Gates. He is most recognized as the young singer who recently appeared as a feature on VH1’s Soul Cities, a show produced by Nelson George that showcases singers in cities all over the country. Currently he is featured on Eric Roberson’s latest album, Mister Nice Guy. Yaw has toured in red, black and Green: a blues and Mister Chickee’s Funny Monkey. Yaw was most recently featured on the Africa Channel’s Soundtracks at Red Kiva.

Tommy Shepherd aka Emcee Soulati, is an actor, playwright, composer, educator, b-boy, rapper, drummer, and beatboxer. Tommy is co-founder of the live hip hop collective, Felonious: onelovehiphop, a resident company at Intersection for the Arts. Shepherd created the original music and performed in their recent project Angry Black White Boy. Shepherd is a Hybrid Resident Artist at Intersection, a long-time member of performance group Campo Santo, educational hip hop group, Alphabet Rocker and a performer with Erika Chong Shuch’s ESP project. He acted in and created the score for Nobody Move and Hamlet: Blood in the Brain by Naomi Iizuka; and created the sound design and score with Howard Wiley for A Place To Stand. He also acted, beatboxed, and composed a live score with Scheherazade Stone for Domino by Campo Santo. In 2007 he created and performed his first one act solo, The MF in ME. Shepherd was a commissioned artist, co-creator and performer of Raw Dios for headrush crew, which toured Berkeley, Denver and to the famed El Teatro Campesino in San Juan Bautista. Shepherd has performed and toured internationally with Marc Bamuthi Joseph, collaborating on Scourge, the break/s and red, black and Green: a blues.

performer biographies

photo: Alwin Poina

Amara Tabor-Smith is an educator, dancer and choreographer who has performed in works by Ed Mock, Anne Bluenthenthal, Priscilla Regalado, Pearl Ubungen, and Joanna Haigood. Her theater background includes work with Anna Deveare Smith, Herbert Siquenze, the SF Mime Troupe and Make-A- Circus. Amara is the former Associate Artistic Director and dancer with the Urban Bush Women Dance Company (New York City), and has facilitated community engagement projects with the Dance Company in Chicago, Flint and Tallahassee. In 2001-2002, Amara collaborated with Lauren Elder and Theater director Ellen Sebastian Chang on The Invisible Lines project, a street theater community engagement project that addressed issues of affordable housing and gentrification in a North Oakland neighborhood. Her choreographed works have been performed in the SF Street Theater Festival, Shotwell Studios and in Making Whiteness Visible (documentary film by Shakti Butler). Amara has taught dance, Capoeira and entering community workshops at Naropa University (Boulder, CO), University of Omaha, Columbia College (Chicago), and more. In 2006, Amara formed the Deep Waters Dance Theater (DWDT). Amara is a 2007 recipient of the CHIME mentorship exchange grant, and awards from the Zellerbach Family Fund, and CounterPULSE.

Traci Tolmaire is an actor, dancer, and singer from Chicago. Her training in theatre arts and dance include a BA in Theatre from Spelman College, theatrical studies at New York University’s Tisch School of the Arts, and dance training at Sammy Dyer School of Theatre (Chicago), Joel Hall Dance Center, Lou Conte/Hubbard Street Dance Company, and classes with master teachers Katherine Dunham and Savion Glover. The Circle Unbroken is a Hard Bop (651 Arts/MAPP International Productions); red, black, & GREEN: a blues (MAPP International Productions/Living Word Project); Plenty of Time nominated for an AUDELCO Award for Best Ensemble (New Fed-eral Theatre); IPH... a translation of Iphigeneia at Aulis by Euripides (Brava Theater/ African-American Shakespeare Company); Mirrors In Every Corner (directed by Marc Bamuthi Joseph for Intersection for the Arts/Campo Santo); Joseph and the Amazing Technicolor Dreamcoat (Fulton Opera House); The Darker Face of the Earth (Take Wing and Soar Productions); Trouble in Mind (Actor’s Express); and Breath, Boom (Synchronicity Theatre Group). Tolmaire also worked as choreographer for Hartford Stage Company’s production of Gee’s Bend, Connecticut Critics Circle award winner for best ensemble, and Rejoice! a holiday musical at Lorraine Hansberry Theatre, and the World Premiere of Dancing On Eggshells at The Billie Holiday Theatre in Brooklyn where she also works as an Artistic Associate

residency activities

Attacking the discourse of economic inequality within the face of shifting definitions of American citizenship, /peh-LO-tah/ aligns art and sport in the framing of both American reality, and global interconnectedness.

The broader conversation around /peh-LO-tah/ is about who we are as Americans, and what our paths to citizenship are. How can we all live together in democratic space? The show uses soccer, a sport enjoyed on a global scale, to evoke ideas of where we want to be, and how we want to live together.

“My inquiry with /peh LO tah/ involves the joy of the game against the complexity of South Africa and Brazil, the global south sites of the last two World Cups. It acknowledges that all conversations tied to the game are ALSO tied to democracy and economy. Why is the world’s most democratic sport juxtaposed with its most systematically underdeveloped nations? How are the movement patterns of the game allegorically tied to the socio-political movements of the people who so passion-ately bear witness to it? What are the implications on definitions of citizenship in the United States, as new majority America makes the World Cup an event watched by more people in the U.S. than either the NBA Finals or baseball’s World Series?” - Marc Bumathi Joseph

Soccer & Writing Clinics for Young Audiences/peh-LO-tah/ invites professional and college-level soccer players to participate in “soccer clinics” for immigrant youth. Kids will be coached on soccer techniques and strategies by these adult players. This activity can happen in a nearby park, abandoned field, or even a parking lot close to the theatre.

CultureStrike, a national network that educates the public about immigration policy and reform, will help identify pop-ulations of immigrant communities in each city and work with MAPP International and the presenting venue to engage them in these activities. Participants can also include local soccer leagues and sports organizations, such as The Boys & Girls Clubs, the U.S. Soccer Foundation, and local community centers. In playing and thinking about soccer, global culture of sport will create familiar pathways to open up a dialogue around citizenship and democracy.

Following the Soccer Clinic, kids and their families—and even the mentor-players—can head inside the theatre to par-ticipate in a writing workshop lead by Joseph. (See below for description.) This creative element will help explore and identify new narratives around immigration, democracy and equity. The game of soccer and teamwork will have already brought new people together; soccer then becomes a meta-phor for shaping dialogue around global citizenship and the duality of American promise and ancestral accountability.

Following the writing workshop, Joseph and the cast can share an excerpt from the show to give an exciting glimpse of /peh LO tah/. While the writing class and performance

excerpt need not take place inside the theatre, one of the goals is to introduce performing arts and the venue to these participants—many of whom may not attend theatre very often, if at all.

Post-writing workshop, the kids and their mentors go back outside and play 3-on-3 or 5-on-5 soccer games—a mini tournament—or possibly watch a game played by those local professional or pre-professional players.

In /peh-LO-tah/, soccer games are essentially participatory arts experiences in public places, opening up public spaces where communities of different demographics and interests come together. While immigrant youth and their families are target populations, this should be an all-inclusive event.

NOTE: This Soccer/Writing Clinic can happen on a small scale and be modified depending on venue feasibility and resources. Please ask!

photo: Marc Bumathi Joseph

residency activities

Community Roundtable or Panel Discussion: Gentrification & Urban Planning/peh-LO-tah/ looks at the economics of World Cup soccer, where communities are cleaned up, torn down and beau-tified, with families often uprooted to make way for the soccer stadium. Once the game is over, however, the stadium is empty and communities are left displaced. Participants (urban planners, housing departments of local cities, everyday citizens, etc.) are invited to discuss urban planning, economic development and gentrification that is happening on a local level. Joseph poses the question: how can we create communities and cities where everyone benefits? What if we could come together and reimagine or design our own town—with realistic expectations and other interests in mind besides our own?

The discussion can incorporate reflections of and reactions to real situations happening in that city (i.e. the building of the Barclays Center stadium in Brooklyn, The Rams coming to LA, etc.). In a moderated discussion, participants will be encouraged to think about questions such as: what revitalization is happening in your city; how might those efforts be impacting the lives of real people who live there; how might those efforts have a positive vs. negative impact? The conversation can examine correlations of gentrification and displacement in marginalized communities due to socio- economic decisions, and what the impact has been in those communities—for better or worse.

WRITING & PERFORMANCE WORKSHOPS WITH MARC BAMUTHI JOSEPH

Writing WorkshopsJoseph’s workshops can last anywhere from 45 minutes to two hours with a primary focus on spoken word poetry. Elements of performance craft, theater games, gesture and move-ment can be included at any individual teacher’s discretion. These workshops can be specifically geared to students in the seventh grade through college seniors.

Spoken Word, Spoken TrueThis workshop is for spoken word artists and dancers looking to find the right intersection of the poetic and movement forms. Poets who wish to extend their work beyond the parameters of the three-minute slam format and look towards developing longer performed narratives in verse will find this particularly illuminating. Joseph challenges writers to explore myth and contemporary iconography, using text, gesture and movement to create short pieces with definite shape and dramatic arc.

Activities for StudentsJoseph often describes being an educator as his primary passion, even before being a performer. He is a long-time teacher and engaging with youth around his work is very important to him. He prefers not to perform Student shows and instead proposes more intimate activities to engage them in meaningful interaction:

• Open Rehearsal and Dialogue with Cast

• A walk-through visit of the set, with an on-stage discussion with cast members

• Master Classes with Joseph geared toward students and school curriculum (A high school teacher himself, Jo-seph prefers to connect with teachers in advance.)

photo: Marc Bumathi Joseph

Marc Bamuthi Joseph press highlights, past and current projects

“With works like red, black & GREEN: a blues and the breaks/s to his credit, you might describe Joseph’s art practice as equal parts performance poetry, dance theater, and social activism.”

– Paulette Beete, NEA Arts Magazine

“Rarely do word and movement mesh so seamlessly and elegantly that the audience is left with the thought that drives them. But such is the case with Marc Bamuthi Joseph whose stories put sound and gesture on a single continuum of expression…”

– The Washington Post

“Marc Bamuthi Joseph belongs to the rare breed of artists who can kindle political and cultural awareness while delivering a highly entertaining performance.“

– The Philadelphia Inquirer

“While the show, staged fluidly by Michael John Garcés, has political overtones, it’s neither sober nor dogmatic. Its heart is in the joyous, ingratiating performances and the music of its language,which alternates between mundane prose and staccato poetry.” – The New York Times

“Joseph speaks of the great socially conscious poetry and music of Gil Scott Heron and there is no stretch to see that this troupe is inspired by Heron’s singular artistic integrity. Dramatically, musically and poetically red, black & GREEN: a blues unlocks a gushing narrative and visual stream that must be experienced.” – Edge New York

“Joseph’s words can take an audience’s breath away, then coax out sighs, exclamations ofapproval, and finally drawing them to their feet.” – The SF Bay Guardian

“red, black & GREEN: a blues had Boston audiences on their feet, immediately and in unison. They stood for the entertainment, they stood for the craft and artistry, they stood for the poetry. Most of all they stood for the inspiration. Bamuthi is a masterful story teller. The integration of his text, Theaster Gates’ remarkable set, music, and dance made for a powerful and unforgettable evening.” – David Henry, Director of Programs, ICA

photo: Bethanie Hines

support / credits/peh-LO-tah/ is produced by MAPP International Productions /peh-LO-tah/ has been commissioned by the Kennedy Center for the Arts. It is made possible through grants from The MAP Fund (a program of Creative Capital, supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation), the National Endowment for the Arts and the Panta Rhea Foundation. Marc Bamuthi Joseph is a participant in the Global Connections-ON the ROAD program, funded by The Andrew W. Mellon Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American Theatre.

MAPP Board of Directors

Lisa Yancey, ChairSenior Arts Consultant, Yancey Arts Consulting

David Gibson, Co-ChairPrincipal, TWO TWELVE

Candace Jackson, SecretaryPrincipal, CJAM Consulting

Paul Cillo, TreasurerPresident and Executive Director, Public Assets Institute

Olivia GeorgiaExecutive Director, Mary Miss/City as Living Laboratory

Martin BournhonesqueOwner, Martin’s Farm

MAPP International Productions is a nonprofit producer of major performing arts

projects that raise critical consciousness and spark social change. We support all

phases of an artist’s creative process, from concept and production to premiere and

touring, while also engaging audiences in the issues behind the art. Through this

heightened focus, we support an evolving and elite cadre of creators whose work

ignites communities worldwide. Come With Us.

Staff

Brian Tate, Executive Director

Cathy Zimmerman, Executive Producer

Julia Gutiérrez-Rivera, Associate Producer

Michelle Coe, Director of Booking

Rasu Jilani, Director of Community Programs

Jonathan Kitt, Development Assistant

Kristen Bernier, Administrative Manager

140 Second Ave, Suite 502 New York, NY 10003 646.602.9390

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MARC BAMUTHI JOSEPH / peh-LO-tah /

photo: Graphic D

esign by Christine M

arie