MASTER CLASS  / Fri Nov 9, 12:30 – 3:20p, Logan Center 501
A presentation by Artyom Kim (see bio below) on the method of collective resonance composing (MCRC), a unique system of organizing a creative process with the fundamental principle of making art within a collective of creators. MCRC is the result of long-term research by composer and director Kim, together with the ensemble for contemporary music Omnibus and Ilkhom Theatre.  
The presentation will be followed by a studio class led by Bata Theatre’s Veronika Nasalsayaka (see bio below).
Experience not required.  Spaces are limited.  Please contact Leslie Danzig.
TAPS WORKSHOP / Tuesday November 13, 4:30 – 6p, Logan Center 701
The artists-in-residence along with profs Leslie Danzig (TAPS) and Leah Feldman (Comparative Literature) will lead a workshop around issues in adaptation and translation.
PERFORMANCE & DISCUSSION / Wed Nov 14, 6-8:30p, Gray Center Lab in Midway Studios
Sidebar Series presents Mobilizing through Improvisation: A Global South & Southside Chicago Collaboration
This project stages an improvisational collaboration between local electronic musician Brother El from the south side of Chicago with actors and musicians from Ilkhom and Bata theaters of the post-Soviet south, Kazakhstan and Uzbekistan. The collaborative work is centered on the concept of ‘translations’ and is structured around five vignettes from Central Asian poetry, bringing classic Central Asian instruments and synthesizers into a transnational dialogue about movement, connection, sonic mixing, fusion, synthesis and layering.
The Ilkhom Theatre is one of the first non-governmental professional theatres in the history of the Soviet Union, founded in 1976 by Mark Weil and a group of graduates of the Tashkent Theatre and Art Institute.  A studio-based theatre, Ilkhom engages its young adult acting students in its performances.  The theatre focuses on diversity, producing many plays based on translations of ‘World Literature,’ problematizing the term by generating pieces that engage with the multi-lingual and confessional cultural environment of Tashkent Uzbekistan and its Uzbek, Tadjik, Russian, and Yiddish as well as Islamic, Judaic, and Orthodox Christian communities.  In this way, the theatre expresses the at once deeply local and cosmopolitan character of the city.  In September of 2007 after the murder of its founder Mark Weil, his former student Boris Gafurov became the artistic director and the theatre was renamed “Ilkhom,“ the theater of Mark Weil.
The BATA Theatre is an independent theater founded by Veronika Nasalskaya in 2017, which produces performances that incorporate traditional Central Asian music and poetry with electronic music and movement work, translating canonical poetic texts to a contemporary context to raise issues around representations of gender and race in post-Soviet Central Asia. The brainchild of the theater was the play ErTostik Groove, a modern epic involving two actors and a sound-transformer. They have collaborated with both the Ilkhom theatre and Omnibus musical ensemble.
Boris Gafurov is an actor, acting instructor, and the artistic director of the Ilkhom theatre in Tashkent Uzbekistan. Gafurov studied under Mark Weil, the founder and former director of the Ilkhom theatre and has been involved in the Ilkhom since its transition to independence in the early 1990s, after the fall of the Soviet Union.
Artyom Kim is a composer and the co-founder of the Omnibus ensemble, a musical collective blending rhythmic poetics, traditional Uzbek, and contemporary European music styles. Omnibus has worked closely with the Ilkhom on musically driven physical theatre projects since 2004. The name of the ensemble, meaning “able to move in all directions” or “to serve for all,” describes its mission to work collaboratively with actors to generate collective compositions.
Veronika Nasalsayaka is an acting instructor, actress and co-founder of the Bata theatre in Almaty Kazakhstan. She founded Artishok theatre (the first independent theatre company in Kazakhstan), produced the Studio of Audio-Visual Arts Blow.up, and is the head of the Creative Training Center. She has organized numerous international festivals of contemporary art and culture in Central Asia and is the recipient of awards for her theatre productions.
Vyacheslav Evstafiev is an actor, musician, director, and co-founder of the Bata theatre. He also previously worked with Artishok and has collaborated with Omnibus.
The Method of Collective Resonance Composing by Artyom Kim
The Method of collective resonance composing—MCRC—is the unique system of organizing a creative process with the fundamental principle of making art within a collective of creators. MCRC is the result of the years-long research of composer and director Artyom Kim, together with the ensemble for contemporary music Omnibus and Ilkhom Theatre from Tashkent, Uzbekistan. The Method was born within practical experiments—performances of different forms and styles, and through educational and scientific projects. It proposes concrete and precise technical tools to control every phase of the creative process—from the appearance of the starting idea to the structuring of the final form. In many ways the Method redefines the roles of author, performers and spectators. It has encapsulated the rehearsal techniques from different forms of music and theatre and combined them with the physical and spiritual principles of Yoga and Tantra. The Method teaches how to receive inspiration and how to use it in the process of making art.

Announcing the UChicago Dance Master Class Series

University of Chicago’s Committee on Theater and Performance Studies partners with the Reva and David Logan Center for the Arts for a series of four dance master classes during autumn quarter.

The master classes are geared towards students with intermediate-level ability and are free and open to enrolled UChicago students on a first come, first served basis. Advanced reservation is required, as space is limited. A sign-up form is linked within each class listing. Please direct any questions to Julia Rhoads, Director of Dance and Lecturer in Theater and Performance Studies at

Saturday, November 3 @ 10 AM
Contemporary Repertory with Robyn Mineko Williams
Bartlett Rehearsal Room
Capacity: 25 students | sign up here

Robyn Mineko Williams danced for River North Dance Chicago and was a member of Hubbard Street Dance Chicago for twelve seasons. She has been commissioned to create works for Hubbard Street Dance Chicago, Pacific Northwest Ballet, Malpaso Dance Company, Charlotte Ballet and more and has had her work presented at venues such as the Kennedy Center, the Joyce Theatre, Jacob’s Pillow, American Dance Festival and MCA Chicago. She was one of 2014 Dance Magazine's “25 to Watch” and is a four time Princess Grace Foundation–USA grant recipient. Williams was selected as 2016’s Best Choreographer in Chicago Mag and, in 2016 and 2018, one of NewCIty's Players: 50 People Who Really Perform for Chicago. Her immersive, collaborative performance series, Undercover Episodes, is currently touring the US. Visit for more information.

Saturday, November 10 @ 5 PM
Breakdancing with Ryley Mikos
Bartlett Rehearsal Room
Capacity: 25 students | sign up here

Ryley Mikos founded The Breaking Program in order to provide breaking classes and private instruction to students and breakers in Chicago and its surrounding suburbs. The Breaking Program was initially designed as an extracurricular activity for grades 1-12 where students learn authentic Hip-Hop/Breakdancing from certified teachers with years of training and experience. Classes focus on strength, balance, and respect, and allow students to dance with a variety of partners. The Breaking Program is also a performing arts company that provides live entertainment and services for corporate events, celebrations, theme parks, sporting events, festivals and more. Ryley customizes performances to fit the needs of the events and communities that they reach.  

Sunday, November 11 @ 10 AM
Ballet Technique with Erica Edwards 
Ida Noyes Dance Room
Capacity: 30 students | sign up here
Erica Edwards trained at the Salt Creek Ballet School, School of American Ballet, San Francisco Ballet, Bryant Ballet, American Ballet Theater, Royal Winnipeg Ballet and Ruth Page Foundation before joining The Joffrey Ballet in 2000. Erica's vast repertoire includes Apollo, Appalachian Spring, Cinderella, Dark Elegies, Deuce Coupe, The Green Table, Light Rain, The Nutcracker, and Les Patineurs, among others. In 2001, the Chicago Sun-Times spotlighted Erica as a "Black History Maker," and in 2002 she was The Joffrey Ballet's nominee for the Princess Grace Foundation Award. Ebony magazine featured Erica as a Young Leader of the Future in the Arts in 2003, and she is featured with The Joffrey Ballet in Robert Altman's movie, The Company.

Sunday, December 2 @ 12 PM
Body Rhythms with Steph Paul
Bartlett Rehearsal Room
Capacity: 25 students | sign up here

Steph Paul is a Chicago based Choreographer / Director / Performer / Educator who creates to affirm the visual, sonic, and storytelling power of all bodies and all people. She is a Resident Director of Albany Park Theater Project and Artistic Associate of Chicago Dance Crash. Dance credits include Chicago Dance Crash, Be the Groove, Dance Center Evanston, Columbia College Chicago, Ohio Northern University, Northwestern University and Chicago National Association of Dance Masters. Theater credits include Short Shakespeare! Romeo + Juliet (Chicago Shakespeare Theater); Last Stop on Market Street (Chicago Children’s Theatre); Mansfield Park (Northlight Theatre); Ofrenda; Learning Curve; Feast (Albany Park Theater Project). Regional theater credits include The Wolves (Studio Theatre); The Royale (City Theatre, Repertory Theater Of St. Louis). Next up, Steph’s work will be featured in Richard III at Shakespeare Theater Company. Steph is a 2017 3Arts Make a Wave grantee and a proud alum of Northwestern University. More info:


Performance and Fragility in Puerto Rico after Hurricane Maria

November 19 from 5:30pm - 7:00pm
Center for the Study of Race, Politics and Culture
5733 S. University Ave., Community Room, 1st Floor

Panel discussion moderated by Danielle Roper (UChicago)

Awilda Rodriguez Lora (Puerto Rican artist)
Awilda Sterling Duprey (Puerto Rican artist)
Marlene Ramirez-Cancio (New York University)
Ramon Rivera-Servera (Northwestern University)

Ramon Rivera-Servera is the Chair of the Department of Performance Studies at Northwestern University. His research focuses on 20th and 21st Century performance in North America and the Caribbean with special emphasis on the ways categories of race, ethnicity, gender, and sexuality are negotiated across national borders through migratory circuits of circulation and exchange. His work documents a wide array of performance practices ranging from theatre and concert dance to social dance, popular music, fashion, and speech. He is the author of Performing Queer Latinidad: Dance, Sexuality, Politics (2012).

Marlene Ramirez Cancio is an interdisciplinary artist from Puerto Rico who co-founded and co-directs Fulana a Latina video collective based in New York City. Using parody and satire as a critical tool, Fulana’s mock television commercials, music videos and print pieces respond to the ways ideologies and identities are marketed thorugh the mass media. She is currently Associate Director of Arts and Media at the Hemipsheric Institute of Performance and Politics, a multilingual, collaborative network of institutions, artists, scholars, activists, and cultural creators from through the Americas who work at the intersection of art, scholarship and social change.

Awilda Rodriguez is a performance choreographer and cultural entrepreneur. She challenges in her work the concepts of woman, sexuality, and self-determination. These concepts are explored through the use of movement, sound, and video as well as through literal instantiations of an “economy of living” that either potentiates or subtracts from her body’s “value” in the contemporary art market. Born in Mexico, raised in Puerto Rico, and working in-between North and South America and the Caribbean, Rodríguez Lora's performances traverse multiple geographic histories and realities. In this way, her work promotes progressive dialogues regarding hemispheric colonial legacies, and the unstable categories of race, gender, class, and sexuality.

Awilda Sterling-Duprey is a teacher, dancer, and choreographer, and an important figure in Puerto Rico’s traditional cultural arts scene. She attended the University of Puerto Rico, Río Piedras, School of Visual Arts, San Juan, Pratt Institute, Brooklyn, and is a doctoral student in history at the Center for Advanced Studies in Caribbean Studies, San Juan. She is a founding member of Pisotan, the first experimental dance collective in Puerto Rico. Combining Afro-Caribbean dance, jazz, and modern experimental movement, Sterling-Duprey has created and performed experimental dance works throughout New York City, Europe, Latin America, Puerto Rico, and other Caribbean countries.