A math lover, former steel factory worker, and proud resident of Gary, Indiana, Jlin (née Jerrilynn Patton) has become one of the most distinctive composers in America and one of the most influential women in electronic music. Jlin’s signature sound builds on the Chicago footwork style of her origins, expanding to embrace diverse influences (ranging from Igor Stravinsky and Philip Glass to Miles Davis and Eartha Kitt) that give her complex percussion-driven work a sophisticated polyrhythmic sound that is all its own.

Jlin’s thrilling, emotional, and multidimensional compositions have earned her praise as “one of the most forward-thinking contemporary composers in any genre” (Pitchfork). Jlin was a 2023 Pulitzer Prize nominee for Perspective – originally commissioned and performed by Third Coast Percussion. Her albums Dark Energy (2015) and Black Origami (2017) received critical acclaim and have been featured in “best of” lists in The New York Times, The Wire, LA Times, Rolling Stone, The Guardian, and Vogue.

Referencing a wide range of musical movements and techniques, Jlin has collaborated with contemporary artists including William Basinski, Dope Saint Jude, Holly Herndon, Zora Jones, and the late, iconic SOPHIE. She has remixed works for major artists including Björk, Max Richter, Martin Gore (of Depeche Mode), Galya Bisengalieva, Marie Davidson, Nina Kraviz, Ben Frost, and others. In the last decade, Jlin has been commissioned by the Kronos Quartet, Third Coast Percussion, the Pathos Quartet, legendary choreographers Wayne McGregor & Kyle Abraham, and fashion designer Rick Owens. Jlin was named a 2023 USA Artists Fellow.

 

Beloved downtown bon vivant and all-around creative provocateur Machine Dazzle has been dazzling stages via costumes, sets, and performance since his arrival in New York in 1994. An artist, costume designer, set designer, singer/songwriter, art director, and maker, Machine describes himself as a radical queer emotionally driven, instinct-based concept artist and thinker trapped in the role of costume designer, sometimes.

Machine designs intricate, unconventional wearable art pieces and bespoke installations. As a stage designer, Machine has collaborated with artists from the New York downtown scene and beyond – including Julie Atlas Muz, Big Art Group, Mx. Justin Vivian Bond, Taylor Mac, Basil Twist, Godfrey Reggio, Jennifer Miller, The Dazzle dancers, Big Art Group, Mike Albo, Stanley Love, Soomi Kim, Pig Iron Theatre Company, Opera Philadelphia, the Bearded Ladies Cabaret, the Curran Theatre, and Spiegelworld; and has created bespoke looks for fashion icons including designer Diane von Furstenberg and model Cara Delevingne for the 2019 Metropolitan Museum of Art Gala.

Machine’s costumes and sets were featured in Taylor Mac’s Pulitzer Prize-nominated A 24-Decade History of Popular Music. A documentary feature film directed by Jeffrey Friedman and Rob Epstein and co-produced by Pomegranate Arts will premiere at the Tribeca Film Festival in 2023.

In 2019, Machine was commissioned by Guggenheim Works and Process and The Rockefeller Brothers to create Treasure, a rock-and-roll cabaret of original songs including a fashion show inspired by the content.

Recent collaborations include the Catalyst Quartet on Bassline Fabulous – a reimagining of Bach’s Goldberg Variations at the Metropolitan Museum of Art and his debut collaboration with Opera Lafayette, for the historic premiere of the never-before-seen Rameau comedic opéra-ballet, Io.

Dazzle was a co-recipient the 2017 Bessie Award for Outstanding Visual Design, the winner of a 2017 Henry Hewes Design Award, and a 2022 United States Artists Fellow. He delivered a TED Talk at TED Vancouver in 2023.

Machine Dazzle’s work has been exhibited internationally. His first solo exhibition, Queer Maximalism x Machine Dazzle, was held at the Museum of Arts and Design in New York City in 2022.

Batsheva will return to North America in Spring 2024.

Batsheva Dance Company has been critically acclaimed and popularly embraced as one of the foremost contemporary dance companies in the world. Together with its junior Batsheva Ensemble, the company boasts a roster of 34 dancers drawn from Israel and abroad. Batsheva maintains an extensive performance schedule locally and internationally with over 250 performances and over 100,000 spectators per year.

Batsheva Dance Company was founded in 1964 by the Baroness Batsheva de Rothschild, who enlisted Martha Graham as its first artistic adviser, a role that she held until 1975. Ohad Naharin assumed the role of artistic director in 1990 and propelled the company into a
new era with his adventurous curatorial vision and distinctive choreographic voice. Naharin is also the originator of the innovative movement language, Gaga, which has enriched his extraordinary movement invention, revolutionized the company’s training, and emerged as a growing international force in the larger field of movement practices for both dancers and non-dancers.

The Batsheva dancers take part in the creative processes in the studio and create themselves in the annual project “Batsheva Dancers Create” supported by the Michael Sela Fund for the Cultivation of Young Artists at Batsheva. Batsheva Dance Company is company-in- residence at the Suzanne Dellal Centre in Tel Aviv. For more information on Batsheva, visit the company’s website here. 

 

Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.

The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music — simultaneously.

He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.

The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.

There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty operas, large and small; eight symphonies (with others already on the way); two piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others.

Visit Glass’s artist website here.

 

Known for her rich aesthetic and highly detailed constructions, Robin Frohardt is an award-winning theater and film director. Her narrative based film, puppetry and sculpture, use recognizable materials, often trash, to create richly detailed worlds that make magic of the mundane and highlight the trivialities of daily life. Her theatrical work has earned her a Guggenheim Fellowship, a Creative Capital Award and multiple Jim Henson Foundation Grants. Her play THE PIGEONING hailed by the New York Times as “a tender, fantastical symphony of the imagination,” debuted in 2013 and continues to tour at home and abroad. Her follow-up project THE PLASTIC BAG STORE premiered in Times Square in 2020 and has since toured to Los Angeles, Chicago, Adelaide and Austin. Her films have been the official selections at The Telluride Film Festival, Aspen Shortsfest, The One Earth Film Festival and BAM.

http://www.robinfrohardt.com/

Taylor Mac is the first American to receive the International Ibsen Award, is a MacArthur Fellow, a Pulitzer Prize Finalist, a Tony nominee for Best Play, and the recipient of the Kennedy Prize (with Matt Ray), the Doris Duke Performing Artist Award, a Guggenheim, the Herb Alpert Award, a Drama League Award, the Helen Merrill Playwriting Award, the Booth, two Helpmann Awards, a NY Drama Critics Circle Award, two Obie’s, two Bessies, and an Ethyl Eichelberger. An alumnus of New Dramatists, judy is the author of The Hang (with composer Matt Ray); Gary: A Sequel to Titus Andronicus; A 24-Decade History of Popular Music; Prosperous Fools; The Fre; Hir; The Walk Across America for Mother Earth; The Lily’s Revenge; The Young Ladies Of; Red Tide Blooming; The Be(A)st of Taylor Mac; and the revues Comparison is Violence; Holiday Sauce; and The Last Two People on Earth: An Apocalyptic Vaudeville (created with Mandy Patinkin and Susan Stroman).

For more information, visit Mac’s artist website here.

Sankai Juku returns to North America this fall with KŌSA – between two mirrors.

Sankai Juku is a Butoh dance company founded by Ushio Amagatsu in 1975. The company has premiered a new piece approximately once every two years at Théâtre de la Ville, Paris, a center for contemporary dance. Sankai Juku is one of the few dance companies that Théâtre de la Ville, Paris has commissioned continuously for 35 years.

Artistic Director Ushio Amagatsu trained in both classical and modern dance before becoming immersed in Butoh. For Amagatsu, Butoh expresses the language of the body. In the 1970s, Amagatsu drew mostly on his own individual experience for inspiration. During the 1980s he spent most of his time working in Europe and the inspiration for his work became more universal. In his works, Amagatsu presents an abstract vision of the infinite and explores evolutionary movement. Major themes that he examines are the relationship of the body to gravity and the relationship between gravity, the earth, and the environment.

The company has toured internationally since 1980 and performed in over 700 cities in 48 countries throughout Europe, Asia, Oceania, and the Americas. They have been highly praised in different cultures for over 35 years, which is a testament to the universal nature of Sankai Juku’s work. While crossing over geographic boarders and appealing to diverse audiences, the company has been developing the themes of their work while searching for and moving towards new realms. Sankai Juku received the Japan Foundation Award in 2013.

To learn more about the company, visit their artist website here.