Message from the Artist: Ronald K. Brown on Grace@20

Grace, the dance was commissioned and performed by Alvin Ailey American Dance Theater and premiered in 1999 NY City Center. The work became a part of the Evidence, A Dance Company Repertory in 2001. The Grace@20 Workshop gives participants a chance to view the work, learn some of the movement from the piece and have a conversation to learn how each of us thinks of grace in our lives and work.

When Judith Jamison, former Artistic Director of AADT, contacted me to discuss the possibility of me creating a work on Ailey there were several immediate responses.  One was the memory of going on a school trip to see the Ailey Company when I was in the 2nd grade and going home and making a dance.  I also remembered my mother taking to a dance studio at Bedford-Stuyvesant Corporation in Brooklyn, NY after that trip and I recall my 8 year old self telling my mom “there are 80 girls.”  There weren’t but as the only guy I felt that way and did not think dance was a serious option for me until I began studying seriously at 16.  I found Evidence in 1985 and believed that I needed to make space for Evidence, the kind of work that I believed was my purpose to create.  After speaking to Ms. Jamison, my heart was full and I wondered how do I say thank you to Mr. Ailey, a choreographer and legend who inspired my first work when I was a child and who let me know, through his work and example,  that it was possible and necessary to have a dance company that reflected the human condition.

I knew that Mr. Ailey was fond of Duke Ellington, so I turned to Ellington’s Sacred Concerts and  discovered over a hundred versions of Come Sunday, a song that became the opening and closing of Grace. During the Grace@20 Workshop participants will learn about the other music that is in Grace and the reasons for their inclusion in the piece.  For the 20th Anniversary of Grace the Evidence performed the work for the first time with live music and an expanded cast at Bard College in July 2019.

I look forward to the screening of Grace, the movement classes and the conversation, especially during these current times when so many of us are in search of grace.

—Ronald K. Brown

Message From The Artist: Perla Batalla on Discoteca Batalla

Discoteca Batalla is a tribute to my mother and the little record shop she ran in the 60’s and 70’s. It was a spot for Spanish speaking immigrants to gather, exchange news from home, buy the latest Spanish language hits, or maybe just drink coffee and listen to Javier Solis or Carlos Gardel with my mom, Barbara. Whether they asked for it or not, our customers could expect to receive an abundance of sage advice from Barbara on matters of love, finance, immigration, psychology, child rearing, dental hygiene, appliance repair, and anything else on which she held strong opinions…which effectively left nothing out.

Mom also hand wrote letters home for the working men and women separated for years at a time from their families.

The shop made them feel like they were home for a second. Farmworkers, restaurant workers, people who cleaned other people’s houses and watched other people’s children all came. By the time I was 10, mom entrusted me to run the shop while she made buying trips downtown. Alone in the shop, listening to some of the greatest singers of all time, I began to dream of becoming a singer

Discoteca Batalla closed its doors over 30 years ago. A shop like ours was is difficult to envision today, in part due to digital downloads and Amazon. And while it may be true that we are what we eat, the things we choose to sing about probably say much more about us. Songs are our stories; who we are, the roads we’ve chosen and the people and dreams we’ve followed, or sometimes left behind.

As the U.S. becomes ever more polarized, the importance of sharing one another’s stories is more critical than ever. Barbara Batalla was an immigrant. She left Buenos Aires alone, as a teen-ager, without speaking English to begin a new life in Los Angeles, where she worked her ass off every day of her life.

This woman had more courage than anyone I know.

—Perla Batalla

Message From The Artist: Anthony Arnove on The People Speak

The goal of The People Speak is to amplify the extraordinary words of ordinary people throughout our history, especially those who have been consciously excluded from the pages of our history books and the institutions of power.

Our work embodies the spirit and honors the legacy of the revolutionary historian Howard Zinn (1922–2010). Like Zinn, we find inspiration in the speeches, manifestos, petitions, letters, poems, songs, and other expressions of those who have spoken out against injustice in the past — and so many who are doing so today.

Centering the words of people’s movements in live arts, education, and media that everyday people can access and share is essential. Because how we view the past is central to how we understand the present — and how we can bring about a different future.

—Anthony Arnove
Director
The People Speak

Message From The Center: The Tune In Festival

Tune In Festival

One of the driving features of CAP UCLA’s 2020-21 Season is The Tune In Festival; a convergence of music and poetry in the time of change. Tune In is a four-day convening of artists, bands, ensembles and soloists from across the U.S., Canada and Latin America performing together in a grand gesture of cross-cultural solidarity that shares the time-honored tradition of music and poetry as a wellspring of resilience, resistance and inspiration. Every generation and era that ushers forth the human need for major change has an anthem or verse that call people to stand up. The Tune In Festival is chock full of song lines and rhymes from some of our most revered voices who speak from the rousing perspective of activating truth.

I knew we needed folk singers and poets in the fall of 2020—long before COVID-19, the despicable tragedy of George Floyd and so many others and the escalated tension that befalls us during a “normal” Presidential election, let alone this one. I started talking with musicians and poets across genres and generations, with a mind towards re-booting The Tune In Festival I had brought with me to L.A. after presenting it at the Park Avenue Armory in New York. What is the music we want to hear from others’ struggles for human rights and justice? What are the poets of today speaking to? What do we want to remind one another of and inspire us as we look to the future? Not surprisingly, Kronos Quartet was thinking along the same lines and were developing a concert to celebrate the incredible life and music of Pete Seeger for the 100 year anniversary of his birth. “We Shall Overcome” is an anthem for the ages and across the ongoing struggle for civil rights that continue to be sought by successive generations. As Kronos planned their concert for CAP UCLA, I started working on building the festival around these shared aims.

Tune In is the voice of right now speaking up and out for the unmet needs and rights of so many in the Black and brown communities in America since our founding. What these music-makers and poets address through their lives and experiences are the anthems that say ENOUGH. Conjoined through successive generations of music, poetry and song, they inspire us all to push forward for the changes we have always known to be urgent.

Tune In is also an incredible celebration of the voices of artists who can inspire us to rise up, tune in, resist, keep pushing and support one another as society’s other narratives try to push us in the opposite direction.

This is the soundtrack of getting out the vote! This is the soundtrack of now! And it is going to be joyous!

—Kristy Edmunds,
Executive and Artistic Director
UCLA’s Center for the Art of Performance

How a President Prepares to Address the Nation

Artists-In-Presidents: Fireside Chats for 2020 has shared six transmissions to the nation with hopes, dreams and fears for our collective future from 42 different artists, with more to come. Directed by visual artist Constance Hockaday, this project is not a fireside chat re-do, but rather an acknowledgement that many of the national narratives of liberation have erased Indigenous voices and the voices of people that make up the majority of this country— Black, LGBTQIA, people of color, persons with disabilities, and womxn.

Alongside the 2020 presidential election, the invited artists, including United States Artists President and CEO Deana Haggag, wrote and delivered national addresses.  Hockaday offered participating artists access to professional speechwriters, like every American president has, to support them in finding their presidential voice. Haggag worked with speechwriter Allison Ehrich Bernstein.

Bernstein has handled communications and written speeches, opinion pieces, and digital content for local and global leaders, including at the U.S. State Department, Accion International, Hilltop Public Solutions, and Hillary for America. We asked her a few questions about participating in Artists-In-Presidents and how to speak to all of the American people.

“As a speechwriter, I focus not on writing for ‘everyone’ but rather asking what this speaker has to say to this audience. Many speakers can work off a generic script written in natural language well enough, but it won’t necessarily sound like it’s their own words—and it won’t necessarily be their message to the people they’re addressing. In a technical sense, speechwriters bridge this gap through conversations with and exposure to their speakers; that is, talking with them, reading about their work, and immersing ourselves in their perspective. Some of the best writing material comes from long conversations with smart, interesting people who have something to say, and it’s our job to distill their ideas and call to action into a strong and personal piece of rhetoric.

What made this project special was working with a speaker who not only had a clear idea of what she wanted to tell listeners all over the country but who also had a uniquely genuine and thoughtful voice that was a joy to write in. I think that’s where good leadership—and surely good presidential leadership in particular—originates: in caring deeply about who you’re speaking to, what they hear, and how your perspective can affect them. So her speech focuses on the power of connection and collaboration—between speaker and audience, artist and viewer, and among any of us who call ourselves Americans—and calls on listeners to leverage creativity toward a better vision of the United States and its future, together.”

View Deana Haggag’s presidential portrait and listen to her address here. For all transmissions visit the virtual gallery at artistsinpresidents.com.

Director’s Note: Complete Works: Table Top Shakespeare: At Home

Complete Works: Table Top Shakespeare: At Home is a new version of an existing project in which we present the complete works of Shakespeare, using an ordinary table top as a stage and casting everyday objects as the characters. We’ve been presenting this work all over the world since 2015.

In this new version of the project the plays are presented at a table in the performers’ own homes – in the kitchen or amongst the books in a bedroom or workspace. We’re all in some version of lockdown still here in the UK, theatres are closed, as they are through much of the world, thanks to the current Coronavirus pandemic. Presenting the pieces over the internet helps us keep in contact with our audiences around the world and really suits these intimate performances. The project has always been about the collision of these great significant Shakespearean dramas and the everyday world – presenting them from the domestic space of the performers really opens up and emphasizes that element, underscoring the informality and personal approach that’s inherent in the project. Each presentation begins with a short informal introduction from the performer. 

The project is very much a celebration of the adaptability and resilience of theatre – it can be done anywhere, with the most limited means. The table top can stage the most intense psychological interactions and journeys, the most complex historical events and the most ridiculous comical confusions. With informal energy that’s more YouTube tutorial than Stratford-Upon-Avon the performances are compelling and intimate and always a little comical, a little absurd, but what’s important for us is that they do really, in their own ways, succeed in bringing the plays to life.

Setting up for the project has certainly been a logistical and technical challenge – ensuring that all the performers (presently in 4 different cities) have their casts of objects and that the internet, camera and another tech in each of their home-bases is compatible to create and broadcast the pieces. We are getting there, ironing out the kinks in the system, and figuring out how things need to be done. We do really hope that people will join us for the presentations of this work and help spread the word about it.

Tim Etchells
Artistic Director of Forced Entertainment
August 2020

Interview: Constance Hockaday on Artists-In-Presidents: Fireside Chats for 2020

 

We sat down with artist Constance Hockaday to discuss her project, Artists-In-Presidents: Fireside Chats for 2020, which was commissioned by CAP UCLA and will be available online starting in September at cap.ucla.edu and at artistsinpresidents.com. 

Q: Can you tell us about yourself and this project?

I’m Constance Hockaday, the director of Artists-In-Presidents: Fireside Chats for 2020. Artists-In-Presidents is an art project, but it’s also a civics project. We’ve invited over 50 artists to deliver fireside chat-inspired addresses to the nation alongside the 2020 presidential campaign.

Q: What is a fireside chat?

A fireside chat is what people called this type of national address that Franklin Delano Roosevelt was doing in the thirties. After the Great Depression began, FDR became president and he realized we had this huge crisis, people had lost their faith in democracy. The radio had been invented and he realized he could speak directly to people to overcome their cynicism and ask them to participate in democracy as an act of faith. He takes that moment and he shows up and he says I’m going to come in like this priestess, I’m going to manifest a collective, a new American mass public, I’m going to describe what you, American citizens, could look like if you came together.

This is where the project becomes potent to me. It becomes important because it’s about this overdue need to update the performance of public leadership. After all, even our most celebrated president, in his most famous policies, specifically excluded brown and black people and he interned Japanese-Americans. Our national legacies of liberation have always excluded and erased the voices of the majority of people who live within our arbitrary borders.

That’s what this project is about. It’s about taking these strategies, this conjuring of a potential American mass public, and bringing those strategies to the bodies and the voices of black people, brown people, women, trans people, indigenous people, queers, people that have been erased from the performance of public leadership. 

Q: Can you talk about the shape the project has taken?

So I reached out to hundreds of artists and we ended up with about 50 committed artists who are writing their national addresses. We’re recording their performances via audio and turning that into a podcast that we’ll roll out alongside the presidential campaign. So starting at around 50 days out from the campaign, we’ll start releasing one artist at a time on the website and a podcast app, to give our audience the experience of hearing these voices alongside the actual presidential campaign. We’re exploring performances of power, performances of leadership, the history, and the legacy, and the posturing of our public leaders. We have built relationships with retired presidential speechwriters to help artists find their presidential voice. 

Each artist is also asked to create a visual companion piece—their presidential portrait. We have left that open to being their aesthetic of power, however they want to do it. 

Q: How did you choose artists to participate?

I didn’t want to be the only one choosing artists, so I put together a board of curators and poets that I trust. I asked them to give me names of people, and I sort of whittled down that list and sent the invitations out in waves. Whoever said yes, I then asked to recommend who they thought would be a good person to add to the cast. So it became a chain letter invitation process. 

Q: What kind of voices were you looking for?

As I was inviting all these artists, the Black Lives Matter movement reached this place in the public view that it had never reached before, and I asked myself, “where are people that are living in the intersections?” I was particularly drawn to women of color, to complicated identities. As a queer feminist with an immigrant mother, I want to hear from immigrant queer women, I want to hear from trans folks. I want to hear from emotionally intelligent and beautiful Black voices. 

I wanted to create an affirmative experience for a listener, to create the experience of being spoken to with dignity, of being witnessed and spoken to from the voice of a leader that sees and hears you. I was looking for people who could speak to some of the most marginalized voices or the most marginalized communities in this country. Our politicians, our public leaders, they talk about black people, they talk about brown people and trans people, but they very rarely ever talk to them.

If we provide people with the experience of young queer black women speaking with vision and speaking intimately from this fantastical national platform, will that ignite in an audience or in other black, young queer women, the thought that maybe they could run for office? 

Q: Have recent events affected the project?

I’m an artist who historically works with boats and urban waterways. Around the time that Trump got elected, I was introduced to FDR’s retired presidential yacht, which is docked in Oakland, California. I am not a history buff, I’m not an academic, but I’ve come to understand a lot about the history of this country just through becoming obsessed with this ship. The project was originally about recreating the Fireside Chats, broadcasting these messages from FDR’s ship back to the nation. 

Suddenly a pandemic happens, and there’s a complete and total lack of leadership. I’m just thinking, “where’s dad?” You know, where’s the guy that’s going to come and give me something I can believe in? And I realized this project isn’t about broadcasting from FDR’s ship. This is about broadcasting back to FDR’s ship. This is about us becoming “Dad/Mom” (the voice of care) for ourselves and each other. If that makes sense? This is about sending these voices back to the ship to update that history, to update all of the voices that have been erased, have been left out.

Q: What were the biggest surprises in putting the project together?

It struck a nerve. Not just in the artists, but also the speechwriters. A tidal wave of speechwriters showed up in my inbox. There were even conservative Republican speechwriters who worked for the Bush administration that wanted to do this! 

Maybe the biggest surprise in this is that I have more empathy for our public leaders than I ever have before. It’s like you’re walking straight into the dark towards a feeling. If there are leaders out there with a true commitment to the common good, they don’t know what an equitable world looks like. Nobody knows what an equitable world looks like. It’s similar to creating new work, it’s just walking towards a feeling… you don’t know what it’s going to be, and it starts to become real by saying it and saying it and saying it, and saying it better and saying it better and saying it better. 

Q: What do you think is the role of artists in times of crisis?

In my work, I’ve become very interested in this thing called the normalcy bias, where we get on autopilot and our bodies just continue to see the world as it always has been. To break free of the normalcy bias we have to usually have a fire alarm. The role of the artist is really to just be this sort of professional fire alarm. It’s about breaking us out of our normalcy bias, articulating these complex parts of our human experience that often just get glazed over or taken for granted. The artist is excited by a certain kind of chaos, both making it and finding it. Chaos is a beautiful, beautiful thing. Being in the unnameable, unknowable places is being close to lifeforce.

Message from the Artist: Artists-In-Presidents: Fireside Chats for 2020

Constance Hockaday

Artists-In-Presidents: Fireside Chats for 2020 is a creative project directed by Constance Hockaday that recasts the presidency as a multi-vocal entourage. With the support from UCLA’s Center for the Art of performance, she has invited fifty artists to assume authority over our collective future. Alongside the 2020 presidential campaign, artists, including Lewis Hyde, Eiko Otake, Ishmael Reed, Ann Hamilton and Natalie Diaz, will write and deliver national addresses that will roll out over radio, podcast and social media. 

Like every American president, we have offered participating artists access to professional speechwriters who will support them in finding their presidential voice. Each artist will also create a presidential portrait of themselves for social media and future gallery exhibition. 

The project is inspired by Franklin Delano Roosevelt’s Depression-era Fireside Chats. Today, Americans are faced with the crippling social and economic fallout of a global pandemic that has brought the existing disparities in our communities into stark relief. Many parallels have been drawn between both the upheavals and the possibilities of the present moment with those of the 1930s. Similar to Depression Era FDR, we have arrived at a moment of crisis and possibility.   We are not calling for a Fireside Chat re-do, but rather an acknowledgement that many of the national narratives of liberation have erased the voices of women and people of color. It is time for an update. We are expanding the vernacular and aesthetics of power with the bodies and voices of the most brilliant thinkers of our times– calling on artists, writers, performers and musicians to assume authority over our collective future. 

Artist-In-Presidents is directed by artist Constance Hockaday and produced in partnership with UCLA’s Center for the Art of Performance and also with support from The Kenneth Rainin Foundation and TED.

What is the Fireside Chat? 

Franklin Delano Roosevelt took presidential office during the Great Depression, when the nation’s economy was decimated and trust in government was at an all-time low. Under these conditions, Roosevelt began to speak directly to the public via a series of radio broadcasts dubbed “the Fireside Chats.” His aim was to address Americans’ greatest concerns.  The Fireside Chats were the first time that a US president’s voice entered the living rooms of everyday Americans. Never before had an American president spoken so frankly and intimately with the citizens of their country.   In intricate poetic detail, Roosevelt unfurled an accessible vision of a unified American public and called upon citizens to participate in democracy as an act of faith.

Future of the project text:

Pending the results of the 2020 election and the pandemic Artists-In-Presidents will take the form of print publication, a gallery exhibition, and ultimately a live performance – bringing people together for a joyous event aboard FDR’s retired presidential yacht in the San Francisco Bay.

Announcing CAP UCLA’s 2020-21 Season

The 2020-21 CAP UCLA season ahead is the result of constantly evolving discussions with artists, managers and producers who are dexterously adapting to unprecedented change while exploring new possibilities.

While every season is the result of copious planning against challenging headwinds, what went into the 2020-21 program is truly unparalleled. During the initial months of the COVID-19 impacts to our health, work and economy the many unforeseeable challenges ensured that what seemed concrete and doable on a Monday could easily fall apart within an hour, a week or a month. As the pandemic settled in for the long haul, projects had to again be postponed as new urgencies quickly stepped forward. The number of times we have re-planned each event is past counting. My point is not about the exhaustive frequency of disruption in our lives and work, but to acknowledge the fortitude and faith that has been in constant evidence. To conceive of how we would offer a reliable programming framework for artists and audiences while every facet of our organization was upended has taken some doing. We are extremely proud of what we have in place. It is not based on what remains, rather, it is the exuberant response to navigating uncertainty with an abiding commitment to the incredible artistry at work in the world.

I want to express my gratitude to organizations and colleagues who have rallied together to share information and strategies, and to express my profound admiration for the artists who are facing the largest cataclysm of their professional lives yet who remain steadfast in extending all they can towards any and every solution that may be at hand on a moment’s notice.

I also want to acknowledge our audiences and supporters. When CAP UCLA shuttered our stages in the face of what public health requirements rightly asked of us, we also turned to you for input and support. In shifting our professional know-how from staged events as our principle way of gathering people together, we rapidly developed our humble newsletter into a weekly online publication. We wrote honestly about what we were experiencing, emphasized what artists were doing, linked readers to where urgent support was available, and put a high beam on the local, national and international perspectives we found useful in this new chapter of life at home.

The intuitive form of our newsletter was an effort at preserving the informal exchanges that take place in our diversely populated cultural commons — our lobbies, lounges and stages — the places where social encounters can illuminate what’s on people’s minds about any number of topics at hand in our communities here and afar. The value of these exchanges is as much a part of why we gather as the art itself. Your tremendous response to what we shared each week inspired us to press on and spare no effort in generating access to perspectives we may not have encountered anywhere else.  Rather than bemoan what is not possible in our theaters (however tempting), we have focused on what can be sustained.

CAP UCLA took a fierce and early stance that an immediate financial commitment to artists was the single most important priority for moving forward. The heart-rending reality of the economic freefall in our operating model spurred us to develop creative initiatives that would drive resources to artists wherever possible and required us to bypass long-ingrained conventions (see Artists Commissions).

Our remaining resources are modest to say the least, and we have invested in what we believe will be essential to our mutual recovery. Artists have always been at the forefront of what we do and they will remain so.

For the foreseeable future, every performance CAP UCLA presents in our 2020-21 Season will be shared online. Royce Hall will become a studio for high-level documentation of live performances. Many performers will be travelling to (or across) Los Angeles to stage their projects with us while our audiences remain safely at home. For our international artists, film crews have been organized to capture their projects in their cities of origin with CAP UCLA’s support. Visa applications and/or renewals for travel to the U.S. have all but stopped for the remainder of 2020. As we look ahead to 2021, we have ensured we are able to resume our presentations while recognizing that quarantine periods and distancing requirements may also make the presence of live audiences difficult if not impossible.

Assuredly, when we have the ability to invite you to join us in the theater, pending health and safety requirements, you will be the first to know.

The word adaptation will surely be a constant companion as we navigate the lengthy period ahead. With each shift, we will adapt accordingly. It is tempting to suggest that in doing so we will all be making history together, but the humbling truth is that the history of right now is re-making us. We envision that this transformative time will serve our collective betterment — one requiring more humility, more justness and more availability to the realities of the world we have neglected and must now actively address in order to correct course.

We hope that where you can support us, you will. Where you cannot, we totally understand and wish you every strength in the challenging new reality we find ourselves in. There is a cultural bottom-line behind CAP UCLA that ensures we can and will continue to be a resource for our communities for as long as we remain standing. This is what it is to sustain the cultural commons regardless of and despite unevenly applied market pressures. At the heart of CAP UCLA’s continuity efforts, we will put our values above our spreadsheets to leave an evidence of care in everything we do.

Here’s to everyone having a seat at the table in our exploration through wholly new terrain. May it bear meaningful fruit for the future that we are all part of creating.

—Kristy Edmunds,
Executive and Artistic Director
UCLA’s Center for the Art of Performance

Apples, Fog and the Future

Dear Friends,

This is my last weekly letter for the time being. To those reading them, and to all who have written to me in return — thank you. I wanted to share a story I have told several times. Somehow it brings me to an understanding of something important and far bigger than what a surface view of something can illuminate without having stood in another person’s shoes.

My father’s family worked the fruit orchards of Washington state. When he was 14, my dad migrated to each crop harvest over the summers and sent his earnings home to support his family. I often picture him in the worker bunk houses and hitching a ride to the next town as a young teenager. Marrying my mother changed his life course. She put him through college by working as a legal secretary and he was the first in his family to earn a degree. He majored in economics.

One summer, when we had gone to the Wenatchee Valley to see everyone, my uncle Don took me to the highest overlook along the orchard road to explain to me how the big picture of orchard management worked. It was a lesson in labor, economics and the ethics required for “good, honest work.” Apple pickers were assigned specific zones in the orchard. Everyone was paid based upon how many bins were filled with fruit and hauled up to the side of the road by the end of the long day. The number of bins determined what you earned. The pickers had no influence on the market value of the apples, nor the worth of their labor at the time – that was determined by complicated systems associated with profits and hierarchies.

There are only a few weeks to clear the trees. After that, people would move on to cherries or pears or apricots.

How an apple on a tree converts into money for a family was vividly clear to me, but how their labor accrued wealth for others was far less so.

Looking across the orchard allotments from the high dirt road, my uncle asked me to point to the zones where I thought the best pickers had been. I logically pointed to where the trees were completely bare. He adjusted his hat and moved my extended arm to point at where the trees still had some fruit left on the branches. “Those are the trees that had the best pickers working there.” I was perplexed because, as I understood it, those red dots were money.

“The best there are don’t pick the trees clean,” he said. “They don’t yank the branches or strip off the leaves. They only take the fruit that is ready to yield, and are careful to leave the spur intact. If you go too fast, get greedy and pull down all of the fruit, you will hurt the tree, break the branch and damage the spur. That means the tree won’t fruit in the next season.” He told me that the best are the ones that pick the apples with a commitment to the future. They ensure there will be fruit for the next season for whomever comes along to work the harvest. Doing so is the ethic of a job well done, however tempting it might be to take more.

He showed me just how to use my hand to pick an apple so that I would leave the spur intact. It is harder than it seems, and is a wonderment when done well. Every time I hold an apple I think of that feeling and what it took to get there.

The next letter that you receive will be to announce our upcoming program. It is full of change and value and hopefulness and care. All of the artists involved have collaborated in some extraordinary ways to come together around the future possibilities we can make and share. All of the producers and managers and creative teams involved, and the entire staff and Our Executive Producer’s Council — we are all excited to offer it up to you.

We have worked on it with the intent that it will carry a great deal of wonderment, and equitably leave a spur.

—Kristy Edmunds,
Executive and Artistic Director
UCLA’s Center for the Art of Performance

Thoughts from the staff of CAP UCLA