On January 26 of 2024, San Francisco Ballet premiered a commissioned work by Canadian American choreographer Aszure Barton. It was titled “Mere Mortals” and explored the science and ramifications of AI through the ancient myth of Pandora. With a brand-new score by world-renowned British electronica composer Sam Shepherd, aka Floating Points, and video and sound design by Barcelona-based Hamill Industries, “Mere Mortals” was a big gamble for new artistic director Tamara Rojo as she closed out her first season with the Ballet.

It paid off. Not only was “Mere Mortals” a hit with critics, with the San Francisco Chronicle calling it “a passionate success,” but it also proved to be a box-office bonanza, so much so that San Francisco Ballet brought the production back to the stage just three months later for several encore performances. Perhaps more importantly, many in the audience were first-time ballet-goers, many of whom saw the piece more than once.

In this arts climate when so many dance companies are struggling to get even their regular audiences back in the door, what was it about “Mere Mortals” that made it such a hit? In this interview, Aszure opens a window into her choreographic practice and how it may have contributed to an event equally invigorating to her dancers and her audience.

Aszure is the artistic director of Aszure Barton & Artists, which she founded very early in her career as a creative outlet for the collaborative and anti-hierarchical instincts she’d had to repress in her dance education. Two decades later, Aszure Barton & Artists, which includes a core staff of creative collaborators, has created work all over the world with a wide array of artists and institutions, including Mikhai Baryshnikov, Nederlans Dans Theater and Alvin Ailey American Dance Theater. Aszure is currently the choreographer in residence at Hubbard Street Dance Chicago and is also developing a new piece in partnership with trumpeter and composer Ambrose Akinmusire.

In 2016, while earning his doctorate in music at the University of Southern California, Alexander Lloyd Blake founded the choral group Tonality. His initial aim was to create a choral ensemble that would represent and celebrate the full diversity of Los Angeles’ population. That done, Tonality started to focus each concert on social-justice issues, from global warming to gun violence, always providing audiences with an array of resources to encourage activism and change.

Tonality’s repertoire is as varied as its membership, ranging from Gregorian chant to contemporary pieces in a variety of styles and genres, but Alex’s commitment to harnessing the power of choral music to foment social change has remained central. In just eight years, Tonality has garnered nationwide attention. In 2020 Tonality received the Chorus America/ASCAP Award for Adventurous Programming, and in 2022 Alex and Tonality’s work were featured on “The Kelly Clarkson Show.” They’ve released two albums, and just this past spring, Tonality won its first Grammy for performing on composer Carla Patullo’s album “So She Howls.”

The ensemble has collaborated with a number of world-renowned composers, including Reena Esmail and Michael Giacchino, and has performed with such artists as Pete Townsend, Lara Downes and Björk. They have also sung for TV and film soundtracks, including “Space Jam: a New Legacy.”

Here Alex explains what led him to found Tonality and details the intricacies of leading a choral ensemble that has to remain increasingly nimble and focused.

https://www.ourtonality.org/

https://alexanderlblake.com/

Costume designer Kristen P Ahern has been thinking about sustainability since childhood, when her parents, her mother in particular, instilled in her a passion for environmental responsibility. As an adult, she has centered that passion in her art, in 2018 founding Conscious Costume, an information-and-resources clearinghouse with a clear vision: “Every costume created in harmony with people and planet.”

Although Kristen now lives in Pittsburgh, PA, she still has deep roots in Chicago, where she designed for several theaters and also managed a few costume shops in the area. Chicago is also where Conscious Costume’s costumes-rental facility continues to operate, giving area designers and theaters greater access to reusable materials and costumes. It is also in Chicago that Kristen, during the COVID-19 pandemic lockdown, created Artist Resource Mobilization (ARM), an organization that matched out-of-work designers and costume-shop artists with mask-production opportunities. In the pandemic’s most dire year and a half, Artist Resource Mobilization was able to provide garment artists with $35,000.

In this interview, Kristen explains what responsible costume design and production entails and offers a primer in how designers and costume shops can take small-to-large steps to ensure they protect the well-being of their onstage and behind-the-scenes artists as well as the environment.

https://www.kristenp.com/

https://www.consciouscostume.com/

Of all the tasks to undertake in the current arts climate, leading a brand-new multimillion-dollar performing-arts center through its opening and first season must be one of the most daunting. Yet, Bill Rauch, the inaugural artistic director of the Perelman Arts Center (usually referred to as PAC NYC) in Lower Manhattan managed to launch with a bang through an astonishing array of music, dance, theater and opera performances. He also capped the first season with a personal triumph, co-directing with Zhailon Levingston an inventive reimagining of the musical “Cats” set in New York’s drag ballroom scene. The production, titled “Cats: The Jellicle Ball,” garnered enthusiastic reviews and was immediately extended.

Although Bill has decades of experience as an artistic director and producer, his previous posts were markedly different from the current. Right out of college, he founded Cornerstone Theater Company, a firmly community-centered company that was initially nomadic, creating theater with and for small and often rural towns before it put down roots in Los Angeles in 1992. Cornerstone continued to make homegrown community-partnered theater in Los Angeles as well as in satellite projects around the country.

Then in 2007 Bill became the artistic director of Oregon Shakespeare Festival, which is a bit of a unicorn in the American theater ecosystem as one of the very few theaters in the U.S. with a full-time acting company. It is also one of a handful of destination theaters in North America, with patrons traveling from all over the country to rural Southern Oregon to enjoy a theatrical vacation. At OSF, while still centering Shakespeare’s works, Bill diversified the theater’s offerings and bolstered its new-play development program.

“Art Restart” was eager to speak with Bill to learn how he has adapted his heavily community-centered vision to the demands of leading New York’s newest cultural landmark, which opened during a particularly perilous time for so many of the city’s performing-arts institutions. Here he describes why and how PAC can thrive in today’s New York as a singularly welcoming hub for the countless communities throughout New York City and its environs.

https://pacnyc.org/

https://pacnyc.org/bio/bill-rauch/

Tariq Tarey is a documentary photographer and filmmaker based in Columbus, OH. Over the years, he has captured thousands of portraits of refugees from around the world whom the U.S. government resettled in Central Ohio.

Tariq himself arrived in the States in the mid ’90s as a refugee from his native Somalia. He therefore has a particular empathy for his subjects, many of whom like him hail from Somalia but also from a myriad global locations, from Nepal and Iraq to the Democratic Republic of Congo and more recently Ukraine.

His passion is not only for his work’s artistic expression, though, but also for its documentary value. Tariq wants to ensure that the refugees’ faces and the histories they contain are photographed and then archived with the same care shown to their antecedents who in centuries past arrived largely from Europe through Ellis Island.

Tariq has also conducted photographic projects in refugee camps around the world and has directed documentary films, including "Women, War and Resettlement: Nasro’s Journey" and "Silsilad," which have been featured on PBS, and most recently "The Darien Gap," which was showcased at the 2nd United States Conference on African Immigrant and Refugee Health. His photos have been exhibited in several institutions, including the Ross Museum and Wright State University, and several are now part of the permanent collections at the Columbus Museum of Art and the Ross Museum.

His deep knowledge of the refugee experience stems not only from his own personal excellence. For years now he has worked as the Director of Refugee Social Services at Jewish Family Services in Columbus, Ohio. He also serves on Ohio’s New African Immigrants Commission and the Franklin County Board of Commissioners' New American Advisory Council.

In this interview, Tariq describes how he launched his photographic career soon after arriving in Ohio and explains why his work remains crucial as history keeps repeating itself.

https://tariqtarey.com/

Antonia Wright is an award-winning Cuban American multimedia artist based in Miami, FL whose work has been exhibited all over the world, from the Hirschhorn Museum and Sculpture Garden in Washington, D.C. and the Pérez Art Museum in her hometown to the Havana Biennial and the Faena Arts Center in Buenos Aires. The focus of her work tends to be the human body and how it responds to extremes of emotion, control and violence promulgated by systems of power, and in the past, she has often used her own body — often in startling and violent ways — to illustrate her themes.

Her tools are varied, including video, photography, light and sculpture, and are constantly evolving. In 2021 she transformed a cement mixer into a giant musical instrument for her project “Not Yet Paved,” and recently she has been creating site-specific installations with the kinds of barricades that have long been used as methods of crowd control at protests the world over.

Her interest in examining the autonomy – and lack thereof – of the human body, particularly the female body, extends to her personal life. She has long been an advocate and activist for reproductive rights and serves on the board of Planned Parenthood of South, East and North Florida.

Art Restart was eager to speak with Antonia soon after Florida banned abortion after six weeks of gestation. We wanted to hear how a changemaking artist continued or recommitted to her work when the sociopolitical winds around her shifted dramatically. In this interview she explains how she’s long channeled her anger into her practice and describes how she remains committed to the curiosity and fearlessness that initially launched her from poetry into performance and installation art.

https://antoniawright.com/

Phil Chan is a choreographer, director and ballet scholar who seven years ago decided to turn a longstanding frustration into a wellspring of activism. Although American entertainment had made great progress in eliminating the use of blackface, demeaning and wildly inaccurate depictions of Asians and Asian-ness continued to appear on ballet stages.

He therefore teamed up with prima ballerina Georgina Pazcoguin to create Final Bow for Yellowface, an organization that started working with ballet companies in America and Europe to eliminate offensive depictions of Asians in their repertoires and help them find inventive and respectful ways to stage culturally problematic ballet classics.

Their work has paid off, notching up notable successes here and abroad and changing the culture in ballet companies to value and welcome a broad array of artists. Phil distilled his ethos and tactics in his book “Final Bow for Yellow Face: Dancing Between Intention and Impact.”

As a director and choreographer, Phil has put his own stamp on once-problematic Orientalist standards. Last year, he directed “Madama Butterfly” at Boston Lyric Opera in a production that The Boston Globe called “an invigorating and meaningful reclamation of Puccini’s beloved opera.” Earlier this year he co-choreographed with Doug Fullerton the ballet “La Bayadère” at Indiana University, maintaining Auguste Petipa’s choreography but moving the setting from a 19th century India sprung from a European imagination to the homegrown American exoticism of 1920s Hollywood.

In this interview, Phil describes how he developed the mission and methods of Final Bow for Yellowface and explains how reexamining the standard ballet repertoire through a multicultural contemporary lens honors and benefits the artform as a whole.

https://www.yellowface.org/

Jerod Impichchaachaaha’ Tate’s compositions are finding evermore ardent fans among the public and musical institutions alike. This interview took place just days after his return to his Oklahoma City home from an eventful week in New York. While there he heard the New York Philharmonic play the string-arrangement premiere of his piece “Pisachi.” He also not only experienced the Carnegie Hall premiere of his “Clans” performed by the American Composers Orchestra; he also performed in it, singing alongside his 10-year-old son, Heloha. Onstage as well were several fellow members of the Chickasaw Nation dressed in traditional regalia.

Jerod’s work has been performed all over the country, and the rest of this musical season will remain busy for him. Dover String Quartet is touring his new quartet, “Woodland Songs”; Oklahoma’s Canterbury Voices premieres his first opera, “Loksi’ Shaali’ (Shell Shaker);” and he will curate an all-American-Indian program in Washington D.C. for the PostClassical Ensemble.

In this interview, Jerod, who is a 2022 inductee into the Chickasaw Hall of Fame, describes how he developed his distinctive multi-traditional composition style as well as his hyper-local and collaborative ethos.

https://jerodtate.com/