Emmanuel Vukovich, Storyboard P, CeSee, Richard Colton, and Zosha Di Castri present: The RESILIENCE Project
Monday, June 3rd | Performance from 5:30 PM to 6:30 PM, Reception from 6:30 PM to 7:00 PM
The Barnard Movement Lab presents a work-in-progress showing of The RESILIENCE Project - a new collaborative piece featuring Béla Bartók’s Solo Violin Sonata and Zosha Di Castri’s Patina for solo violin.
Inspired by the cross-cultural legacy of Béla Bartók’s research of Peasant & Folk Music traditions from over 100 years ago, RESILIENCE is a new, ground-breaking, and multidisciplinary collaboration between Canadian violinist Emmanuel Vukovich and Central South American Flex Prodigy Storyboard P with Mexican American Hip Hop dancer CeSee under the artistic direction of celebrated American dance-maker Richard Colton. The project features the danced performance of Bartok’s monumental Sonata for Solo Violin, and Zosha Di Castri’s Patina for solo violin.
The performance will be introduced by a brief presentation with selected images and recordings from Bartók’s Serbo-Croatian, Rumanian, Turkish & North African folk melodies archived at Columbia University’s Rare Books & Manuscripts Collection and followed by open conversation with the artists.
Doors open at 5:00 PM and the performance begins at 5:30 PM
Capacity in the lab is capped at 40 audience members. Attendees who have RSVP'd before the event will have priority, and admission will be determined on a first come first serve basis on arrival. If you RSVP before the event but arrive late, we reserve the right to give your spot to someone on the waitlist.
Attendees who have not RSVP'd will be put on a standby waitlist if they arrive in person before the event.
Please note: All on-campus events are subject to sudden cancellation or limited attendance in light of recent campus security measures. We will do our best to inform all event organizers, performers, and attendees as far in advance as possible if we need to cancel or modify any Movement Lab events.
Emmanuel Vukovich (Violin & Founder). Emerging internationally as an artist of technical assurance, musical integrity, and artistic maturity, Vukovich appears as soloist, recitalist, chamber musician and concertmaster with some of the world’s great musical ensembles and halls such as Carnegie Hall, the Elbphilharmonie in Hamburg, the Wiener Philharmoniker. A recipient of the Canada Council for the Arts Musical Instrument Bank and McGill University's Schulich School of Music Golden Violin Award, Vukovich recently released a solo debut album RESILIENCE with music by Béla Bartók, Sheila Silver, Zosha Di Castri and Dinuk Wijeratne performed with Canadian pianist Katherine Dowling and baritone Philippe Sly. Vukovich completed a Master of Music at New England Conservatory of Music in Boston and a Doctor of Musical Arts degree at Stony Brook University with the Emerson String Quartet focusing on the ground-breaking and cross-cultural musical legacy of Béla Bartók.
Storyboard P (Dance) is one of the foremost practitioners of “flex” street dancing. He developed his own type of dance called "mutation" or "mutant," which combines fractured movements inspired by stop motion animation and improvisation. Storyboard P attended Harlem School of the Arts. He has performed at venues including the Breakin' Convention at Sadler's Wells Theatre, MassMOCA, Ithaca College, Performance Space New York, as well as numerous music videos. Born Saalim Muslim in Crown Heights Brooklyn, Storyboard P currently lives in LA and works all over the world.
CeSee (Dance)
Richard Colton (Artistic Director) is the Founder Director of Movement Without Borders @ Judson Memorial Church, an organization that brings artists and activists together around the urgent issues of immigration, homelessness, and social justice. movementwithoutborders.com He is Curator for Max Roach 100 @ The Joyce Theater, a celebration of the 100th birthday of the iconic drummer/composer/activist that is traveling nationwide. Colton Co-Founded Summer Stages Dance @ The Institute of Contemporary Art/Boston with Amy Spencer in 2007, a residency for dancers, visual artists, musicians, and writers engaged in the development of new, cross-disciplinary work. Colton performed with James Waring Dance Company in the 60’s, City Center Joffrey Ballet in the 70’s, Twyla Tharp Dance and American Ballet Theater in the 70’s and 80’s, and Mikhail Baryshnikov’s White Oak Dance Project in the 90’s. Colton has staged the works of Tharp for London’s Royal Ballet, The Paris Opera Ballet, American Ballet Theatre and the National Choreographic Center-Ballet de Lorraine. He appears in the Milos Foreman films, Hair and Amadeus and in the Great Performances / PBS presentation of David Byrne’s The Catherine Wheel choreographed by Tharp. Colton was a resident choreographer at American Repertory Theater in Cambridge MA, under the direction of Robert Brustein. He Co-Founded Spencer/Colton Dance with Amy Spencer in 2000, a company of dancers and actors creating new work inspired by the writings of Grace Paley, Anton Chekhov and Raymond Carver, among others. Colton has guest taught dance, cross-media collaboration, and dance history at New York University, Columbia University, MIT, Harvard University, Princeton University, Yale University, University of California San Diego, The Juilliard School, The New School, Connecticut College, Duke University and University of Illinois Urbana-Champaign. Colton recently conceived with Liz Gerring and David Michalek, a dance film for Ellsworth Kelly: A Centennial Celebration. He is currently working on a film inspired by the writings of Clarice Lispector and contributing to a new book on his teacher and mentor choreographer James Waring. Colton is Artistic Director of the RESILIENCY Project, founded by violinist Emmanuel Vukovich, centered around the music of Bela Bartok and performer Storyboard P.
Zosha Di Castri (Patina) a Canadian “composer of riotously inventive works” (The New Yorker), currently lives in New York. Her music has been performed across Canada, the United States, South America, Asia, and Europe and extends beyond purely concert music, including projects with electronics, sound arts, and collaborations with video and dance that encourage audiences to feel “compelled to return for repeated doses” (The Arts Desk). She is currently the Francis Goelet Associate Professor of Music at Columbia University and a 2023 American Academy of Arts and Letters Goddard Lieberson fellow. Zosha’s current projects include a large chamber work commissioned by the LA Philharmonic which received its premiere in spring 2024; a Koussevitzky commission from the Library of Congress for percussionist Steve Schick and ensemble, and upcoming collaborations with the Bozzini Quartet and Ensemble Paramirabo/Totem. Zosha recently curated an event showcasing her work alongside others’ as part of the New York Philharmonic’s 2023 Nightcap series. Her 2022 work, In the Half-Light, a song cycle for soprano Barbara Hannigan, with libretto by Tash Aw, was premiered by the Toronto Symphony Orchestra and was performed again this season by the Montreal Symphony Orchestra.
Other recent projects include We live the opposite daring for six voices written for Ekmeles, time>>T. - - I. - - M.(time) - - E, a commission for large chamber ensemble premiered by the Grossman Ensemble in Chicago; Hypha, a quartet for clarinet, violin, cello, and piano/keyboard commissioned by the Chamber Music Society of Lincoln Center; and Pentimento, a short piece for orchestra commissioned by the WDR Sinfonieorchester for its 75th anniversary.
Columbia University’s Rare Books & Manuscripts Collection
The collection consists of manuscripts by Bela Bartok, 1940-1943. These manuscripts totalling approximately 2,170 pages are as follows: 1) Romanian Folk Music - Vol. 1 Instrumental Melodies, Vol. 2 Vocal Melodies, Vol. 3 Texts; 2) Turkish Folk Music; and 3) Serbo-Croatian Table of Materials. Also, a small group of letters by Bartók and other concerning his association with Columbia University. Rumanian Folk Music manuscripts consist of "Volume I, an essay on instrumental melodies, and Volume II, on vocal melodies, were completed in New York in 1942. The third volume, the complete poetic texts, was finished in March of 1945, also in that city, not quite six months prior to Bartok's death." Source: Suchoff, Benjamin. Bartók's Rumanian Folk Music Publication. Ethnomusicology , May, 1971, Vol. 15, No. 2 (May, 1971), pp. 220-230