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Jenny Bilfield
Ben Cameron
Michael Casey
Susie Farr
Carol Folt
Sandra Gibson
Ronen Givony
Michael Gordon
Peter Hackett
Charles Helm
Jeffrey James
Colleen Jennings-Roggensack
Ben Johnson
Thomas Kamm
Emil Kang
Jim Yong Kim
Stephen Lacker
Ralph Lemon
Ruby Lerner
Theodore Levin
Michael Ross
Duncan Webb
Paul E. Westlake, Jr.

Jenny Bilfield joined Stanford Lively Arts in 2006 as artistic and executive director. Having worked in the performing arts since 1983, Bilfield is best known for her specialized work in the strategic management, promotion and presentation of contemporary music. Prior to joining Lively Arts, Bilfield was President of the North American office of the renowned music publisher, Boosey & Hawkes. During her 12 year tenure Bilfield significantly expanded the catalog, simultaneously conceiving new strategies in the areas of promotion and programming, and spearheading initiatives that are emulated throughout the field. As a result, Boosey & Hawkes grew under often challenging economic conditions, and continues to attract leading composers to its roster.

Previously, Bilfield served as Executive Director of the National Orchestral Association, where she created the New Music Orchestral Project, a widely celebrated program that fostered new orchestral works by living American composers. Throughout this 4-year initiative, the organization launched 48 works with readings, recordings, world premieres at Carnegie Hall and second performances. Bilfield also served as Executive Director of Concordia Chamber Symphony and the Bridgehampton Chamber Music Festival, and has held positions at Merkin Concert Hall and International Production Associates.

Throughout her career, Bilfield has received numerous professional awards, including the Award for Adventuresome Programming from ASCAP (American Society of Composers, Authors, and Publishers) and the American Symphony Orchestra League’s Helen M. Thompson Award, a biennial honor recognizing outstanding achievement in orchestra management.

Bilfield has served on several boards and committees within the music industry, including the American Music Center, and the American Symphony Orchestra League. She is also a contributor to industry publications, a frequent conference presenter, and a grant panelist for national, regional, and international funders. Bilfield holds a B.A. degree (in music, with a composition focus) from the University of Pennsylvania. She is married to Joel Phillip Friedman, a composer of concert and musical theater works. They have a daughter named Hallie.
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In 2006, Ben Cameron assumed his current position as Program Director, Arts at the Doris Duke Charitable Foundation in New York, NY. In that capacity, he supervises a $17 million grants program focusing on organizations and artists in the theatre, contemporary dance, jazz and presenting fields.

Previously, he served for more than 8 years as the Executive Director of Theatre Communications Group (TCG), the national service organization for the American nonprofit professional theater, significantly expanding its programs, membership base and grantmaking activities. Prior roles include his work as Senior Program Officer at the Dayton Hudson Foundation, Manager of Community Relations for Target Stores (supervising its grantmaking program) and four years at the National Endowment for the Arts, including two as Director of the Theater Program. A former theatre professional, frequent public speaker and arts activist, Mr. Cameron has served on numerous nonprofit boards and currently is a member of the national Grantmakers in the Arts board. He has received honorary degrees from DePaul University in Chicago and American Conservatory Theatre in San Francisco, in addition to an M.F.A. from the Yale School of Drama. In 2007, he was one of five recipients of the Distinguished Alumnus Award from UNC.

In addition to his not for profit work, he has lectured on theatre aboard the Queen Mary 2 as an Oxford Lecturer on three separate cruises, has spent 12 seasons as a panelist on the opera quiz feature on the Live from the Metropolitan broadcasts from New York, has twice ridden his bicycle from Minneapolis to Chicago to raise money for AIDS relief services, and served for three years as a member of the Tony Awards Nominating Committee.
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Michael Casey is Professor and Chair of Music and Director of the graduate program in Digital Musics at Dartmouth College. He received his Ph.D. in Media Arts and Sciences from the MIT Media Laboratory in 1998 where he received a Discover Award for technological innovation for his work in Internet audio and music. He has received international prizes from the IMEB in France and NEWCOMP foundation in the USA for his works in digital media which are distributed by MIT and IMEB. His research in computer audio-visual recognition and search is widely deployed as part of the MPEG-4 and MPEG-7 International Standards for multimedia and is currently supported by the Engineering and Physical Sciences Research Council in the UK and by the William H. Neukom 1964 Institute for Computational Science at Dartmouth College. Since coming to Dartmouth, Professor Casey has founded the undergraduate program in Digital Musics, including the Dartmouth Laptop Orchestra Lab (D-LOL), as well as the Bregman Audio Research Lab which engages undergraduates and graduate students in research at the intersection of Music, Media, Mathematics, Neuroscience, and Computer Science. Prior to coming to Dartmouth, Michael held positions as Professor of Computer Science in the Intelligent Sound and Music Systems group at Goldsmiths, University of London, and as Research Scientist for MERL, one of the leading computer science research laboratories in the USA.
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Susie Farr is the Executive Director of the Clarice Smith Performing Arts Center at the University of Maryland, College Park. She is responsible for the establishment of the strategic direction of the Clarice Smith Center and the stewardship of the Center as a place for learning, exploration and growth through the performing arts. The Clarice Smith Center is home to academic units in music, dance, and theatre, a performing arts library, and a presenting series. The Center houses performances and rehearsal spaces, production shops, teaching facilities and faculty and staff offices. Susie came to the Clarice Smith Performing Arts Center from the Association of Performing Arts Presenters where she served as Executive Director for thirteen years. During her tenure at Arts Presenters, she administered the National Task Force on Presenting and Touring the Performing Arts and published An American Dialogue. Prior to her tenure at Arts Presenters, she served for six years as Director of Cal Performances at the University of California, Berkeley. She also held arts management positions at Stanford University.

Farr has extensive experience in the development of new initiatives in support of cultural participation and integrating performance and learning on campus and off. She has served as a panelist on numerous state and federal review panels for state arts agencies and the National Endowment for the Arts. She currently serves on the Advisory Committee for Dance/MetroDC.
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Carol L. Folt is Provost and Dean of Faculty of Arts and Sciences at Dartmouth College. Before becoming Dean of Faculty, she served as Dean of Graduate Studies and Associate Dean of Faculty for three years. An internationally acclaimed environmental scientist and an award-winning teacher, she is the author of numerous scientific works and, in collaboration with colleagues, has received millions of dollars in external awards from the National Science Foundation, the U.S. Department of Education, the U.S. Environmental Protection Agency, and others. She is the associate director of Dartmouth’s Superfund Basic Research Program and one of the original faculty involved in Dartmouth’s first-of-its kind Women in Science Project. In 2010, she was elected a fellow of the American Association for the Advancement of Science. Folt joined Dartmouth’s biology department in 1983 following graduate research in environmental biology at the University of California, Davis, where she earned a doctorate, and a postdoctoral fellowship at W. K. Kellogg Biological Station of Michigan State University. She received the John M. Manley Huntington Award for teaching in 1991.
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Sandra Gibson has served as the President & CEO of the Association of Performing Arts Presenters since July 2000. Gibson has been instrumental in positioning the association as a leader in advancing the profession of performing arts presenting. Since her tenure at Arts Presenters, membership has grown by 50% to over 2,000 organizations and individuals in the U.S. and across six continents. Gibson’s over 30 years of experience in arts programming, presenting and arts management began with the Department of the Arts at UCLA Extension and continued with her tenure at the American Film Institute (AFI), where she held a number of senior management positions. Prior to joining Arts Presenters, Gibson was Executive Director of Public Corporation for the Arts, the Long Beach Regional Arts Council for nine years and Executive Vice President and COO for Americans for the Arts. From 2004 through 2008, Gibson was appointed to the United States National Commission to UNESCO. Gibson serves as the secretary for the Board of Directors of the Performing Arts Alliance. Gibson holds a B.M.E. in Music Education/Instrumental Music from Wittenberg University, an M.M. in Music History from Northwestern University and has completed coursework for the Ph.D. in ethnomusicology at UCLA.
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Ronen Givony is the founder of Wordless Music, a concert series that pairs rock and electronic musicians with classical music performers, both in New York and select cities internationally. To date, the series has featured appearances from Sigur Ros, Andrew Bird, Deerhoof, Beirut, Explosions in the Sky, Múm, The Books, Grizzly Bear, Broadcast, Rhys Chatham, and Stars of the Lid, along with the music of Perotin, Bach, Haydn, Debussy, Stravinsky, Messiaen, Ligeti, Steve Reich, Arvo Part, and Jonny Greenwood of Radiohead. The series was the recipient of the 2008 Village Voice Best of NYC Award for “Best Moderately Snooty Concert Series.” In addition to his concerts with Wordless Music, Ronen is one of three music directors at the recently opened Le Poisson Rouge in Greenwich Village, where he produces the club’s classical, electronic music, and indie rock programming. He is also a former employee and regular contributor of liner notes for Nonesuch Records. Ronen is a native of South Florida, and completed his B.A. and M.A. in English Literature at Yale University.
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For 25 years, Michael Gordon has produced a strikingly diverse body of work, ranging from large-scale pieces for high-energy ensembles to major orchestral commissions to works conceived specifically for the recording studio.

Passionate about the sonic potential of the traditional orchestra, Gordon’s orchestral works include Rewriting Beethoven’s Seventh Symphony, a radical reworking of the original, commissioned by the 2006 Beethoven Festival in Bonn; and Sunshine of your Love, written for over 100 instruments divided into four microtonally tuned groups.

Michael Gordon’s interest in adding dimensionality to the traditional concert experience has led to collaborations with artists in other media. In Decasia, a commission from Europaischer Musikmonat for the Basel Sinfonietta, the audience is encircled by the orchestra and large projections.

Works for theater and opera include What To Wear, a collaboration with director Richard Foreman, which premiered at the REDCAT Theater, and lightning at our feet, co-commissioned by Cynthia Woods Mitchell Center for the Arts at the University of Houston and the Brooklyn Academy of Music. lightning at our feet straddles arts media, giving Dickinson’s poetry mobility in music while encompassing her words in a world of visual imagery.

Gordon’s music has been featured in many dance works including Emio Greco | PC, Wayne McGregor (for Stuttgart Ballet, Random Dance), and Ashley Page (The Royal Ballet, The Scottish Ballet). His music has been performed at the Kennedy Center and Oper Bonn, and he has received commissioned by the Lincoln Center and Carnegie Hall. Gordon is a recipient of multiple awards and grants; including the Guggenheim Foundation and the NEA.

Gordon’s own ensemble has performed across Europe and the US at venues as diverse as Alice Tully Hall and the punk mecca CBGB. Gordon holds a B.A. from NYU and a Masters of Music from Yale University. He is Co-Founder and Co-Artistic Director of the Bang on a Can Festival. bangonacan.org
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Peter Hackett was appointed Chair of the Theater Department at Dartmouth College in 2005. From 1994-2004 he served as Artistic Director of The Cleveland Play House. During his tenure, he instituted several innovative artistic programs including the Associate Artists Program, The Next Stage Festival of New Plays, and the Professional Actor Training Program in partnership with Case Western Reserve University. Of the over 80 plays he produced at the Play House, six moved to Broadway and off-Broadway theaters earning national distinctions including Drama Desk and Outer Critics Circle nominations and the AT&T OnStage and Obie awards. In addition to over twenty productions at the Play House, Mr. Hackett has directed at theaters across the country and abroad including the Denver Center Theater, the Alabama Shakespeare Festival, the GeVa Theater, the Lyric Stage Dallas, and the National Theater, Miskolc, Hungary. From 1980-88, he was a member of the Tony Award-winning Denver Center Theater Company serving variously as Acting Artistic Director, Associate Artistic Director for New Play Development, and Director of the National Theater Conservatory. Mr. Hackett has taught at the National Theater Conservatory, Catholic University, and the Professional Theater Training Program at the University of Wisconsin, Milwaukee and the Prague Conservatory. He has served on panels for the National Endowment for the Arts, AT&T OnStage, the Theater Communications Group and as a consultant for the theater programs at Georgetown University and Williams College.
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Charles Helm is the Director of Performing Arts of the Wexner Center for the Arts at the Ohio State University. He joined the staff in 1991 after working at Walker Art Center in Minneapolis. Helm writes and lectures on the arts and regularly serves as a panelist for local, regional, and national agencies and foundations including the National Endowment for the Arts, Ohio Arts Council, and Japan Foundation among others. He represents the Wexner Center at the Association for Performing Arts Presenters, Major University Presenters network, Contemporary Art Center network, Directors Circle initiative of the Public Theater and National Performance Network and has served as a Hub Site for the New England Foundation for the Arts’ National Dance Project.

The Wexner Center’s performing arts program with its creative laboratory mission was selected as the first university-based performing arts program funded by the Doris Duke Charitable Foundation’s prestigious Leadership Presenting Institutions program. While at the Wexner Center, Helm has organized creative residency and commissioning projects for artists such as Young Jean Lee, Improbable Theater, Bill T. Jones, SITI Company, Ann Hamilton in collaboration with Meg Stuart and Meredith Monk, Bebe Miller, Bill Frisell, The Builders Association, Akram Khan, The Wooster Group, Savion Glover, Nature Theater of Oklahoma, and Kronos Quartet among many others. All of these artists engaged with OSU students in master classes, discussions, and other educational forums while they were developing new work at the Wexner Center. Helm co-curated the 1999 Wexner Center exhibition Julie Taymor: Playing with Fire, the first major retrospective exhibition of one of today’s foremost stage innovators which subsequently toured nationally. In 2009 he curated the first exhibition in the U.S. of the gallery based video installation and performance installation work of the vanguard American choreographer William Forsythe.
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Jeffrey H. James has pursued a thirty-year career in arts and educational institutions, serving in leadership capacities at arts centers, performing arts groups, visual arts organizations and higher education institutions. Prior to becoming director of the Hopkins Center for the Arts at Dartmouth, he served as the chief executive of the Cunningham Dance Foundation, which administers the Merce Cunningham Dance Company, the Cunningham Studio and its allied programs. James was recently named the Howard Gilman Director, in recognition of a major endowment from The Howard Gilman Foundation. James’s prior assignments included the vice-presidency of the California Institute of the Arts and the founding presidency of the International Foundation for the Canadian Centre for Architecture, as well as senior management, fundraising and marketing assignments at the Dance Theatre of Harlem, the New York Philharmonic, and the University of California, Los Angeles. Early in his career he was executive director of the Chautauqua County Arts Council (New York) and of the Center for the Arts in Westerly, Rhode Island. He is currently a Dartmouth representative among the Major University Presenters, a group of twenty leading university-based arts presenting programs. He is also an advisory board member of the award-winning Los Angeles theater troupe Pacific Resident Theatre. He graduated from Hamilton College in Clinton, New York.
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Colleen Jennings-Roggensack has been presenting the performing arts for the past 33 years. She is currently Executive Director of Arizona State University Gammage and Assistant VP for Cultural Affairs with artistic, fiscal and administrative responsibility for two cultural facilities, with additional responsibility for Sun Devil Stadium and Wells Fargo Arena for non-athletic activities including concerts as well as commencement and convocation exercises.

Colleen was nominated by President Clinton and confirmed by the US Senate to serve on the National Council on the Arts. Colleen worked with the NEA and Department of Education on the Goals 2000 Arts Education Action Planning Process. She has been on the Board of Directors of the American Arts Alliance and has testified before Congress on behalf of public funding for the arts.

Colleen has held positions at Dartmouth College and Colorado State University. She was Director of Performing Arts and Professional Development at the Western States Arts Federation. She has served on numerous NEA, regional and state panels, as well as being an invited speaker at national conferences.

Colleen served three years as the President of the Association of Performing Arts Presenters. She currently serves on The Broadway League Board of Governors, the Board of Directors for the Tempe Convention & Visitors Bureau, and Creative Capital. She also serves on The Broadway League Labor Committee, Road Presenters/Intra-Industry Committee, Road/Labor Subcommittee, co-chaired the 2009 Spring Road Conference and will co-chair the 2010 Biennial Conference. She was Vice-Chair for Special Events for the Super Bowl XXX Host Committee and she coordinated the first-ever Super Bowl Concert Series, January 1996.

Formerly a dancer and choreographer, she is married to Dr. Kurt Roggensack, volcanologist at Arizona State University, and has a 19-year old daughter, Kelsey, a freshman at Williams College and an All-American swimmer.
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Ben Johnson is director of Northrop Concerts and Lectures at the University of Minnesota. As the University’s performing arts presenter for over 80 years, Northrop has presented world-class artists ranging from Merce Cunningham and Martha Graham to Urban Bush Women in dance and Kurt Elling to Regina Carter in jazz. Since his arrival in August 2008, Johnson has continued the tradition of artistic excellence and audience education, while building a program of outreach and community partnerships.

Before accepting the Northrop directorship, Johnson served for 14 years as programmer and director of education and audience development for the University Musical Society (UMS), University of Michigan. While there he directed a comprehensive education program that drew over 60,000 participants in 2007. He launched numerous community-based performance projects and curated festivals and artistic events throughout the area, specifically with underserved audiences. In 2007, he received the first-ever National MetLife Foundation Award for Arts Access in Underserved Communities, and he was awarded Michigan’s 2008 Special Recognition Guvvy Award in recognition of excellence and innovation in arts and culture.

A Minnesota native who once ushered for the Northrop Dance Series, Johnson holds an M.A. in arts administration and a B.A. in theater arts/mass communications from St. Mary’s University of Minnesota.
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Thomas Kamm, AIA is the founding principal of Tom Kamm Architects, PC. The firm specializes in the design of performing arts and academic facilities, commercial interiors, and custom residential architecture. His work in the performing arts includes programming, pre-design and full design services for new theaters, renovations, and adaptive re-use conversions of existing space as used for performance venues. Tom received his B.A. in Drama from UC, San Diego, and holds a M.A. degree from Yale School of Architecture. He was a member of the design faculty at the University of Illinois, School of Architecture from 2002 to 2007, and is currently a guest critic at Catholic University of America School of Architecture. Mr. Kamm lectures frequently about architecture and the performing arts. Recent lectures include the Issues in Contemporary Architecture presented at The Phillips Collection, panel participation (Theater and Urban Renewal) at the 2009 Literary Managers and Dramaturgs of the Americas’ association meeting, and an interdisciplinary panel The Intersection of Architecture and the Performing Arts, to be presented in August at the AIA’s Design Week convention. Recent publications include the article Contemporary American Theater Architecture, in World Architecture, co-authored with scholar Yi Cheng.

Thomas Kamm also designs sets for theatre, opera, dance, and television, both domestically and abroad. He has designed for internationally acclaimed director Robert Wilson, including The Civil Wars and The Forest, with music composed by Phillip Glass and David Byrne. Mr. Kamm has created dances with choreographer Susan Marshall and designed premieres of works by playwrights Tony Kushner (Angels in America), Charles Mee (The Investigation of a Murder in El Salvador), and José Rivera (Each Day Dies with Sleep). In 2009 he was nominated for a Helen Hayes Award for his design of BOOM for the Wooly Mammoth Theater.
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Emil Kang serves as the University of North Carolina’s first Executive Director for the Arts, a senior administrative post created in 2005 to help unify and elevate the performing arts. In that year, Kang introduced and currently directs the University’s first major multi-disciplinary performing arts program, Carolina Performing Arts (CPA). The creation and presentation of new work serves as a core value and in its first five years, CPA has commissioned over fifteen new works in every conceivable genre. Kang also serves as Professor of the Practice in the Music Department. He has taught courses in artistic entrepreneurship, the creative process and currently teaches a class on listening to music. Kang’s particular passion is in working with undergraduate students who integrate the arts into their curriculum. Prior to Chapel Hill, Kang served as President of the Detroit Symphony Orchestra. He has held positions with the Seattle Symphony, American Composers Orchestra and was an Orchestra Management Fellow with the League of American Orchestras. Kang was the youngest and first Asian-American to serve as president of a major symphony orchestra. Kang speaks often on the role of the arts in higher education and has conducted site visits evaluating the performing arts on numerous other university campuses. Honors include being named “Tar Heel of the Week” by the News & Observer (NC) and one of “40 under 40” by Crain’s Detroit Business. He has served on and chaired panels for the National Endowment for the Arts, the Pew Charitable Trusts, and state arts councils across the country. He currently sits on the board of directors of the Association of Performing Arts Presenters (APAP), the North Carolina Symphony, and the Kenan Institute for the Arts at the North Carolina School of the Arts.
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Jim Yong Kim, M.D., Ph.D., took office as the 17th president of Dartmouth College on July 1, 2009. The first physician to serve as Dartmouth’s president, he also is an anthropologist who brings a passion for learning, innovation, and service to Dartmouth.

President Kim is a co-founder of Partners in Health, a former director of the Department of HIV/AIDS at the World Health Organization, and a current member of the Presidential Advisory Council on HIV/AIDS. He has dedicated himself to health and social justice work for more than two decades, helping to provide medical treatment to underserved populations worldwide.

At the World Health Organization, he led the 3 by 5 initiative, which sought to treat 3 million new HIV/AIDS patients in developing countries with antiretroviral drugs by 2005. Launched in September 2003, the ambitious program ultimately reached its goal in 2007.

President Kim’s work has earned him widespread recognition. He was awarded a MacArthur “Genius” Fellowship, was named one of America’s “25 Best Leaders” by US News & World Report, and was selected as one of TIME magazine’s “100 Most Influential People in the World”. In October of 2010, he will be inducted into the American Academy of Arts and Sciences.
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Stephen Lacker is a senior architect with Sasaki Associates, Inc. in Watertown, Massachusetts. Sasaki is a multidisciplinary design firm specializing in integrated project solutions. Sasaki employs architects, landscape architects, planners, interior and graphic designers, civil engineers and strategic planners.

Cities and towns around the country realize that investment in arts complexes yields real economic results; in the same vein, colleges and universities are seen more and more as engines of growth for their host cities. Cognizant of this, Sasaki lavishes special care on integration with the larger environment. Every project is seen not only as an occasion to create great architecture but also as an opportunity to elevate the surrounding’s physical and social settings. Sasaki’s creative process is based upon dialog and collaboration with their clients and consultants. In such a process, designs emerge as a natural outcome from a lively and rigorous investigation of ideas.

Because of the changing needs and diverse character of both higher education and civic clients, many of the arts complexes Sasaki designs do not fit into neat, definable categories that segregate the performing arts from the visual arts. But each of these projects not only responds to the unique characteristics of each site, each in its ways serves as an expression of common humanity and highest collective aspirations. These complexes unfold in the broader theater of human life, from small towns to schools, colleges, universities and urban public spaces.

For more than 20 years Stephen Lacker has designed projects for the arts and arts communities, including: theaters, galleries, exhibits and museums along with residence halls designed specifically for students in the arts. His approach follows Sasaki’s collaborative, interdisciplinary philosophy based on a specific client’s mission, design expertise and close working relationships with consultants and artists.
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Ralph Lemon is Artistic Director of Cross Performance, a company dedicated to the creation of cross-cultural and cross-disciplinary performance and presentation. Lemon builds teams of collaborating artists—from diverse cultural backgrounds, countries and artistic disciplines—who bring their own history and aesthetic voices to the work. Projects develop over a period of years, with public sharings of work-in-progress, culminating in artworks derived from the artistic, cultural, historic and emotional material uncovered in this rigorous creative research process.

In 2005, Lemon concluded The Geography Trilogy, a decade-long international research and performance project exploring the “conceptual materials” of race, history, memory and the creative practice. The project featured three dance/theater performances: Geography (1997); Tree (2000); and Come home Charley Patton (2004); two Internet art projects; several gallery exhibitions; the publication of two books by Wesleyan University Press, and third to be published in 2011. Other recent projects include the three-DVD set of The Geography Trilogy; A web-installation ralphlemon.net; A 2009 multimedia performance commission for the Lyon Opera Ballet, Rescuing the Princess; and Lemon’s current multimedia project How Can You Stay in the House All Day and Not Go Anywhere?

Lemon was one of fifty artists to receive the inaugural United States Artists Fellowship in 2006. He has received two “Bessie” (NY Dance and Performance) Awards, a 2004 NYFA Prize for Choreography, A Guggenheim Fellowship and a 2004 Fellowship with the Bellagio Study and Conference Center. In 1999, Lemon was honored with the CalArts Alpert Award in the Arts. Lemon has been artist-in-residence at Temple University in Philadelphia (2005-06); George A. Miller Endowment Visiting Artist at the Krannert Center (2004); and a Fellow of the Humanities Council and Program in Theater and Dance at Princeton University (2002). From 1996-2000, he was Associate Artist at Yale Repertory Theatre. Most recently he was an IDA fellow at Stanford University.
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Ruby Lerner is the President and Executive Director of Creative Capital. Prior to Creative Capital, Lerner served as the executive director of the Association of Independent Film and Videomakers (AIVF) and as publisher of the highly regarded Independent Film and Video Monthly. Having worked regionally in both the performing arts and independent media fields, she served as the executive director of Alternate ROOTS, a coalition of Southeastern performing artists, and IMAGE Film/Video Center, both based in Atlanta. A native of North Carolina, Lerner worked in the state’s visiting artist program following graduate work in theatre at the University of North Carolina-Chapel Hill and undergraduate studies at Goucher College. She has written and lectured extensively on arts issues, served on many boards, steering committees and grantmaking panels, and has consulted with hundreds of arts organizations on audience development and related areas of arts management. Lerner is a member of the Board of Trustees of the Aldrich Contemporary Art Museum in Ridgefield, CT, the Goucher College Committee of Visitors, and the University of North Carolina at Chapel Hill Innovation Circle.
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Theodore Levin is a specialist on music, expressive culture, and traditional spirituality in Central Asia and Siberia. His two books, The Hundred Thousand Fools of God: Musical Travels in Central Asia (and Queens, New York) and Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond are both published by Indiana University Press. As an advocate for music and musicians from other cultures, he has produced recordings, curated concerts and festivals, and contributed to international arts initiatives. During an extended leave from Dartmouth, he served as the first executive director of the Silk Road Project, founded by cellist Yo-Yo Ma, and currently serves as Senior Project Consultant to the Aga Khan Music Initiative in Central Asia, and as chair of the Arts and Culture sub-board of the Open Society Institute (Soros Foundation). He is currently working on a book on culture and development in Asia, and completing a 10-volume CD-DVD series, Music of Central Asia, released by Smithsonian Folkways Recordings. At Dartmouth he teaches courses on ethnomusicology and world music, sacred music in East and West, and an interdisciplinary course on the Silk Road offered through the Middle Eastern and Asian Studies Program.
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Michael Ross is Director of Krannert Center for the Performing Arts and Associate Dean of the College of Fine and Applied Arts at the University of Illinois at Urbana/Champaign. Deeply committed to embracing the art of the past as well as the art of our time across disciplines, aesthetic sensibilities, and cultural legacies, he views the Center as a potent blending of classroom, laboratory, and public square. He is an active board member of numerous local, state, and national arts organizations and attributes his interest in the literary and visual arts and broader cultural history as major influences on the creative and collaborative nature of his work in arts administration.
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Duncan M. Webb is the founder and President of Webb Management Services, Inc., a management consulting practice specializing in the development and operation of performing arts facilities and the advancement of the groups that use them. Now in it’s 14th year, the firm has worked on 250 projects—feasibility studies, business plans and strategic plans related to cultural buildings, cultural districts and cultural organizations.

Webb’s career in the arts began onstage as a lovesick maiden in a 1969 production of Gilbert and Sullivan’s Patience. After college, he became a banker, specializing in commercial lending and international finance. In 1986, he came into the field as a producer of experimental, industrial and commercial theatre, with such credits as the Canadian premieres of Changing Bodies, Children of a Lesser God, Blood Brothers, Orphans, Marshall Bravestarr and Barbie and the Rockers. He also developed marketing and sponsorship programs for the Canadian premiere of Les Miserables.

In 1989, Webb joined Theatre Projects Consultants as a management consultant, writing feasibility studies for a range of performing arts facilities and ultimately becoming the general manager of the North American practice of this theatre consulting firm. He then spent two additional years at AMS Planning and Research, doing similar work before starting Webb Management Services in March 1997.

A Certified Management Consultant (CMC), Webb has been an active speaker and published writer on arts management and the development, operation and financing of arts facilities. Webb’s book Running Theaters: Best Practices for Managers and Leaders is the first book ever written on the management of performing arts facilities. He is also a professor in NYU’s Graduate Program in Performing Arts Administration, where he teaches Finance and Planning for the Performing Arts and Principles & Practices of Performing Arts Administration.

Duncan has a B.A. in Economics from the University of Western Ontario and an M.B.A. from the University of Toronto.
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Paul Westlake is Managing Principal and a Lead Designer in the firm of Westlake Reed Leskosky, founded in Cleveland in 1905 with offices in Phoenix, Arizona; Cleveland, Ohio and Washington, DC. His firm has been recognized with more than 500 publications and national, state, and local level design awards, including an AIA state level Gold Medal firm award, several honors from the National Trust for Historic Preservation, a Federal Design Achievement Award, and a Design Award from the U.S. General Services Administration.

Paul Westlake specializes in projects encompassing historic theatre preservation and adaptive reuse, new theatre design and amphitheaters. He has received over 100 national, state and local design awards including the AIA Ohio Individual Gold Medal, the Cleveland Arts Prize for Architecture, several AIA awards for the Orpheum Theatre and several USITT National Honor Awards. Mr. Westlake has worked on the design of four of the five largest performing arts centers in the U.S., designed facilities for the New York Philharmonic and Cleveland Orchestra, and designed a cultural complex on the site of the 1969 Woodstock Music and Arts Festival.

In addition, Mr. Westlake has lectured on the topic of theatre design and restoration to audiences including national conferences of the National Trust for Historic Preservation, the United States Institute for Theatre Technology, the International Association of Assembly Managers, the Phoenix Art Museum, the League of Historic American Theatres, and other preservation symposia.

Mr. Westlake received a Masters of Architecture with Faculty Commendation from Harvard University, where he co-founded the Harvard Architecture Review (recognized internationally as a leading journal of architecture theory), and was a Graham Foundation and an AIA Foundation Scholar. He also received a Bachelor of Arts, Cum Laude with Distinction in Architecture from the University of Pennsylvania, College of Arts and Sciences, and a Bachelor of Science in Economics Magna Cum Laude from the Wharton School, with a major in Finance.
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