Carnival of the Animals
Wendy Whelan, Marc Bamuthi Joseph, and Francesca Harper
October 27, 202
Stanford Live
Bing Concert Hall
Heterogenous Spectacles
Carnival of the Animals
Cover Photo for Lindsey Dillon’s “Toxic City”
LINES Rehearsal
See Alonzo King’s “Concerto for Two Violins” in LINES Ballet’s 2024 Spring Season—April 5–14 at the Blue Shield of California Theater. Tickets: cityboxoffice.com/LINES.
LINES Ballet’s Spring Season also features a reimagining of “The Collective Agreement”—an acclaimed collaboration with jazz composer Jason Moran and light installation artist Jim Campbell—and the world premiere of “SPRING”—set to traditional African American spirituals.
West Coast March for Gaza
It is true that the sky was always beautiful but I don’t remember marvelling at sunset or gazing at the dawn of a new day. Survival does not allow time for poetic reflection.
I Shall Not Hate: A Gaza Doctor’s Journey on the Road to Peace and Human Dignity
West Coast March for Gaza
Sunday, January 14
San Francisco Civic Center Plaza
Chocolate Heads: Gardening after Dark
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As an intermedia, prototypical dance and performance troupe, The Chocolate Heads (founded by Aleta Hayes in 2009) cultivates student artists and interdisciplinary thinkers from across the Stanford campus. Garedning After Dark brings contemporary dance, live music, fashion presentation, and visual installation together in celebration of beauty in all of its forms; metamorphosis in all of the ways one can imagine; and a rich collaboration to awaken the muses.
Gardening After Dark in Roble Gym for Stanford TAPS, December 7, 2023
Sankai Juku Master Class
Butoh belongs both to life and death. It is a realization of the distance between a human being and the unknown. It also represents man’s struggle to overcome the distance between himself and the material world. Butoh dancers bodies are like a cup filled to overflowing, one which cannot take one more drop of liquid- the body enters into a perfect state of balance.
Sankai Juku Master Class at Stanford University
presented by Aleta Hayes and Stanford Arts.
Beach Signs
Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And, hovering about, there are signs no one has ever read, chords no one has ever heard.
Haruki Murakami, Kafka on the Shore
Point Lobos
Grotowski Workcenter at Franconia
LINES Ballet’s “Let Not Your Heart Be Troubled”
As artists, which we all are, our obsession is to crumble the veils of delusion, to make the invisible apparent, and to see behind all appearance. If I’ve come to a realization where I’ve left the sense of ‘me‘, and expanded to the sense of ‘we’, finally stepping into the idea of ‘oneness’, how can I exploit a mountain? How can I exploit a people? Because I realize that people and that mountain, is me. That ocean that is being polluted is me.
Alonzo King
CELEBRATION OF ALONZO KING & ZAKIR HUSSAIN
Alonzo King LINES Ballet
Celebration of Alonzo King & Zakir Hussain. Hussain’s mastery of classical Indian percussion brought him a Grammy award and worldwide renown. His collaborations with Alonzo King renew classical forms, holding respect for the old and ushering in the new with a keen eye for innovation.
William Saroyan
Everything is changed for you. But it is still the same, too. The loneliness you feel has come to you because you are no longer a child. But the world has always been full of that loneliness.
The Human Comedy
Charlie at the Gates of Hell
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The main thing is to be moved,
to love, to hope, to tremble, to live.
Be a man before being an artist!
Auguste Rodin
Rodin’s Gates of Hell
Stanford University
Alonzo King LINES Ballet “Deep River”
Deep River, a collaboration with composer Jason Moran and vocalist Lisa Fischer. Bending the lines between classical and contemporary ballet, Alonzo King draws on the strengths of his extraordinary dancers, altering the way we look at ballet today.
Bolinas Morning
I did not consider, even passingly, that I had a choice when it came to surfing. My enchantment would take me where it would.
Barbarian Days: A Surfing Life
Chocolate Heads at Stanford’s Cantor Museum
Don’t go to a museum with a destination. Museums are wormholes to other worlds. They are ecstasy machines.
Jerry Saltz
Aleta Hayes’ Chocolate Heads performing a site specific dance, Fashion Fable, at the Cantor Museum, Stanford University.
Fashion Fable at Cantor Arts Center
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Fashion Fable ~ A Dance and Runway Event, marks the long-anticipated return of the Chocolate Heads to the Cantor Arts Center with live performance. The Chocolate Heads Movement Band (founded in 2009 by TAPS lecturer and Artistic Director, Aleta Hayes), is an intermedia, prototypical dance and performance troupe that cultivates student artists and interdisciplinary thinkers from across the Stanford campus. This performance brings together contemporary dance, live music, fashion presentation and visual installation in celebration of beauty in all of its forms and metamorphosis in all of the ways one can imagine.
Collaborating artists include: Jamie Lyons, Connie Strayer, Angrette McClosky and Patrick Lotilla.
February 25th at The Cantor Arts Center
La Réunion (again) with LINES Ballet
Besides, there was a strangely calming element of cosmic beauty in the hypnotic landscape through which we climbed and plunged fantastically. Time had lost itself in the labyrinths behind, and around us stretched only the flowering waves of faery and the recaptured loveliness of vanished centuries—the hoary groves, the untainted pastures edged with gay autumnal blossoms, and at vast intervals the small brown farmsteads nestling amidst huge trees beneath vertical precipices of fragrant brier and meadow-grass. Even the sunlight assumed a supernal glamour, as if some special atmosphere or exhalation mantled the whole region. I had seen nothing like it before save in the magic vistas that sometimes form the backgrounds of Italian primitives. Sodoma and Leonardo conceived such expanses, but only in the distance, and through the vaultings of Renaissance arcades. We were now burrowing bodily through the midst of the picture, and I seemed to find in its necromancy a thing I had innately known or inherited, and for which I had always been vainly searching.
H. P.