Morleigh pics please!

[Kiki]

I used to think that too, when the kids were really little. But now there's been so many pics of Bono and Edge's kids posted that I don't think it's a big deal anymore. Plus, both Bono and Edge have adult children, some of them work in the public eye (Eve was in a movie, Hollie has done some modeling). So while it's certainly annoying for them to have their pics taken by their father's fans, I don't think it's any different than taking a pic of their wives. Both wives have their own threads here. I can see how some would want a thread about Ali since she is involved with some of the organizations Bono is involved in. Some of the older girls used to have myspace and other social networks pages open for public view with their real names and pics of them with their family. One Evans girl had a lot of personal pics up that I don't think her dad would be too happy about sharing. So, that said....I agree with you but I feel like it's too late to do anything about it.

What movie was Eve in?

 

[Kiki]

with Holly Evans, I suppose

Thats Holly?! she's gorgous!

 

[Niamh_Saoirse]

 

[Larry's_girl]

She could easly passed like a model. She is very beautiful. Thanks for posting.

 

[The_Edge89]

What movie was Eve in?

http://www.u2interference.com/forums/f195/the-27-club-186228.html

 

[Larry's_girl]

I will try to find some pics of her today and will post them here.

 

[Padj]

 

[Andreianloth]

 

[lauramullen]

I have seen her a few times and she is beautiful.

 

[venus]

She is so beautiful. She kind of reminds me of a pixie or fairy or something.

 

[Niamh_Saoirse]

 

[Niamh_Saoirse]

 

[Andreianloth]

Pretty woman
Love to see them together

 

[Edge_Orchestra]

That there Morleigh is one classy and gorgeous lady.

 

[Morleighfan]

I love Morleigh. She's very beautiful and I love what she does. She seems like a great person.

Here's some pics of the beauty.

 

[kassandra]

Nice pictures Morleighfan!

 

[Morleighfan]

Thanks. I want some new pics of Morleigh.

 

[Morleighfan]

I found this pic of Morleigh & Edge that I've never seen before.

 

[arw]

I found this pic of Morleigh & Edge that I've never seen before.

the full pic of this is much better....maybe someone can scan and post it

 

[arw]

well I had to scan and print a document so I figured since my scanner was on I'd give this a try. Too big for my scanner so this is the best I could do:

Happy 40th Birthday Dad. You Rock Star You! His button says "don't I look great for my age?"

 

[Morleighfan]

Here's some more pics. Just click on thumbnails.

 

[Edge_Orchestra]

well I had to scan and print a document so I figured since my scanner was on I'd give this a try. Too big for my scanner so this is the best I could do:

Happy 40th Birthday Dad. You Rock Star You! His button says "don't I look great for my age?"

I did see this somewhere before.... A magazine perhaps? Remind me, what magazine did it come from?

 

[arw]

U2 and i towards the back where the ATYCLB stuff is....

 

[Edge_Orchestra]

U2 and i towards the back where the ATYCLB stuff is....

Ah yes! Thanks for reminding me. I knew I'd seen it somewhere before... Great book. Great picture.

 

[arw]

yeah that's why the scan is so bad! The book is gigantic and weighs a ton.

 

[Morleighfan]

MORLEIGH STEINBERG is a dancer, choreographer, lighting designer, and filmmaker. She was a co-founding member of ISO Dance Theater and a formative member of Momix with which she has toured extensively. She has also toured with Daniel Ezralow and Friends, rock group U2, and as a solo artist/performer. She has collaborated with Los Angeles based dancers Oguri and Roxanne Steinberg on several productions and has been working as lighting designer for OGURI and RENZOKU. She has choreographed and performed in numerous music videos and films, inspiring her to explore the medium of film. She conceived and directed her first film, "Traveling Light" which was noted in festivals around the world. Steinberg continues to shoot and direct projects including dance inspired shorts, music videos and documentaries.
The Dark-eyed American beauty-The Time article on Morleigh ( Sorry if article is a repeat, I found it to be very cool).
The Times article on Morleigh - Ireland: Morleigh Steinberg - She has her feet firmly on the ground but Morleigh Steinberg moves in mysterious ways, says Daire O'Brien - June 22, 2003 - Morleigh Steinberg, wife of U2 guitarist Dave -The Edge- Evans, is sipping strained tea on a sofa in the Shelbourne hotel. Not, it must be said, the act one associates with a rock chick. In fact, physically, and in conversation she is the antithesis of a stereotypical rock star's wife. According to a recent tabloid description, she is a 'dark-eyed American beauty'. While it's not inaccurate, she certainly also exudes a certain wispiness and soft-spoken fragility. She gives the impression of a woman who must be surrounded by beautiful things. This is a woman whose poetic heart must never be exposed to the evil that men do. Her conversational tropes tend towards the ethereal - she talks, in a way difficult to imagine Kerry Katona or Karla Elliott doing, of 'the three dimensions of dance, blending music, movement and light.' She is unaffectedly affable, however, and her lack of rock-star trappings, it becomes apparent, is no artifice. A talented and successful dancer since childhood, Steinberg came from a privileged background but was a successful grafter in her own right, running her own dance school in California before she took over belly-dancing duties on the outdoor leg of U2's Zoo TV tour in the early 1990s. When romance blossomed with Edge, who had separated from his first wife, Steinberg shut up shop and moved to Ireland, where she has, as a choreographer and designer, helped the modern dance scene raise its game. Currently she's working with Liz and Jenny Roche's company, Rex Levitates, lighting its new production, Bread & Circus, which opens at the Project on Tuesday. It is the respected company's latest attempt to drag the hitherto unwilling middle orders along for a night of men in tights. As artistic milieus go, modern dance tends towards the stratospherically obscure end of the spectrum, a forbiddingly abstract domain that prompts much bewildered scratching of heads among non-specialists. Steinberg's supplied biography is, in this vein, scrupulously abstract, talking of her ability to explore how light 'captures movement, dictates emotion and sculpts space'. It's a role, she adds in person, that involves 'using more abstraction and emotion' than 'just shining a light on someone's face, as in the theatre'. The obscurity of modern dance, which can seem wilful, means that shows, rare in themselves, and getting rarer since the Arts Council took a hatchet to the funding of some dance companies earlier this year, tend to attract only the zealots. There are exceptions - Irish Modern Dance Theatre's production The Last Supper, an impeccably choreographed, raucous bunfight held in the Trocadero restaurant last October - but they're few. Generally dance is for the committed few and the nonplussed salary men accompanying their wives and partners on the off-chance that it may be the type of dancing to which Michael McDowell recently objected. Steinberg points out that the problem for dance in Ireland is that the audience just doesn't seem to cross over. 'In Italy, for instance, you have a theatre audience, an opera audience and a dance audience, and they follow everything to become one audience. It would be nice if that could happen here. 'Dance is an emotional experience and it can be a life-changing experience. What does it mean? Well what does it make you feel like?' Steinberg grew up in 1980s' Los Angeles, the daughter of a wealthy movie lawyer and successful interior designer. 'I grew up dancing and have danced all my life, but my experience was in the creative and interpretative dance,' she says. 'Of course, like every other child I wanted to be a ballerina, but my dance training was very personal, and while it had the discipline of the Martha Graham school it stressed relationships to objects and to poems.' She and Edge have two children, aged three and five, and have just moved into a house in Killiney, which was bought last year but completely renovated. 'It's a huge relief,' she says. 'We were renting for four years.' They also have homes in France and California; what about the joys of rural Ireland? She laughs. 'No. I really must get to know more of Ireland, but it takes so long to go so close.' She is fascinated by the changes in Irish society she has witnessed since she moved here nine years ago. 'I feel lucky to have come here when I did and seen the changes. People now seem much more open and willing to deal with both their political and personal history.' On an everyday level, Steinberg says she feels much more comfortable with Dublin today as a result of its growing ethnic diversity.
'Remember, I grew up in LA, which is a very gritty city. In ways it's like a third-world city, with different international peoples. When I was here first, I was asking, 'Where's the Chinese quarter? Where's the Indian quarter?' It took me a long time to get used to that.'
The couple married last year and she describes her husband's lifestyle as 'very tightly knit. It's all about close friends. But I don't mind, I can walk anywhere and go into different worlds.' While it is obvious she doesn't want to talk about her husband -'There's no real need to discuss him, is there?' - one gets the impression this is as much to do with her wish to help Rex Levitates as it is from celebrity paranoia. Now that her children are older, Steinberg tries to take on more projects. As well as more dance, she is also keen to direct more movies and has, she says, a number of scripts that she is looking at. 'I love working in film. There's a lot of great talent out there and a lot of great writers. I believe that the gift of the Irish is their written and spoken word and their sense of humour.' She believes that Irish people also have a far better understanding of international affairs than her countryfolk. She is political, she says, in so far as 'things do move me emotionally,' but when it comes to specifics is deliberately ambiguous. Was she pro or anti-war? 'That's difficult.' Next week's performances are the culmination of a long involvement 'at the conceptual stage' with Rex Levitates. 'It's really nice to be taken in at an early stage,' she says. She obviously stands in admiration of how Rex Levitates ' founded in early 1999 by Liz and Jenny Roche - has managed to gain credibility at dance's leading edge from such an unpromising geographical location. The company has won a host of awards and international invitations for its pieces, The Salt Cycle, Trip Down and Their Thoughts are Thinking Them. Steinberg met Liz Roche when she lit the RHA fringe gallery exhibition in 2001. 'She saw that piece and told me she was struck by the directness of it. I wasn't trained as a lighting designer but after years of performing I started lighting just for fun. 'I guess I knew the genre and I am quite a visual person, so it wasn't difficult to translate.' As her mobile phone rings, she excuses herself and answers it. She tells the caller to phone her at home later before realising that she does not yet know her phone number. 'Not to worry,' I say. 'I'm sure it's in the phone book.' An indulgent smile issues from the dark-eyed American beauty, and then she is gone.

I found this pic & I wonder if this is Morleigh's sister, Roxanne? It's from her facebook. Also I found these pics & info, too. I don't know. That's why I was wondering if anyone knew.

Roxanne Steinberg: Choreographer

ROXANNE STEINBERG is a founder of BODY WEATHER LABORATORY in L.A. (1988) and has been performing with OGURI since 1990. She has danced worldwide and performed in special projects for MIN TANAKA'S opera choreography and in FIFTH by AMAGATSU of SANKAI JUKU. She has choreographed works for BODY VOX in Portland, Oregon, LAUREN BON'S NOT A CORNFIELD and FARMLAB in downtown Los Angeles. Her solo dance work has been presented in OGURI'S FLOWER OF THE SEASON in Venice and she received a DURFEE ARTS GRANT for her piece at CONVERSATIONS at THE FLEA in New York where she will be perform again April 7th 2009. She is an artist in residence at the ELECRIC LODGE in Venice.

 

[Edge_Orchestra]

So Morleigh DOES have a sister.

Nice.

* combs his hair and puts on some cologne *

Why hello there. How YOU doin'?

MORLEIGH STEINBERG is a dancer, choreographer, lighting designer, and filmmaker. She was a co-founding member of ISO Dance Theater and a formative member of Momix with which she has toured extensively. She has also toured with Daniel Ezralow and Friends, rock group U2, and as a solo artist/performer. She has collaborated with Los Angeles based dancers Oguri and Roxanne Steinberg on several productions and has been working as lighting designer for OGURI and RENZOKU. She has choreographed and performed in numerous music videos and films, inspiring her to explore the medium of film. She conceived and directed her first film, "Traveling Light" which was noted in festivals around the world. Steinberg continues to shoot and direct projects including dance inspired shorts, music videos and documentaries.
The Dark-eyed American beauty-The Time article on Morleigh ( Sorry if article is a repeat, I found it to be very cool).
The Times article on Morleigh - Ireland: Morleigh Steinberg - She has her feet firmly on the ground but Morleigh Steinberg moves in mysterious ways, says Daire O'Brien - June 22, 2003 - Morleigh Steinberg, wife of U2 guitarist Dave -The Edge- Evans, is sipping strained tea on a sofa in the Shelbourne hotel. Not, it must be said, the act one associates with a rock chick. In fact, physically, and in conversation she is the antithesis of a stereotypical rock star's wife. According to a recent tabloid description, she is a 'dark-eyed American beauty'. While it's not inaccurate, she certainly also exudes a certain wispiness and soft-spoken fragility. She gives the impression of a woman who must be surrounded by beautiful things. This is a woman whose poetic heart must never be exposed to the evil that men do. Her conversational tropes tend towards the ethereal - she talks, in a way difficult to imagine Kerry Katona or Karla Elliott doing, of 'the three dimensions of dance, blending music, movement and light.' She is unaffectedly affable, however, and her lack of rock-star trappings, it becomes apparent, is no artifice. A talented and successful dancer since childhood, Steinberg came from a privileged background but was a successful grafter in her own right, running her own dance school in California before she took over belly-dancing duties on the outdoor leg of U2's Zoo TV tour in the early 1990s. When romance blossomed with Edge, who had separated from his first wife, Steinberg shut up shop and moved to Ireland, where she has, as a choreographer and designer, helped the modern dance scene raise its game. Currently she's working with Liz and Jenny Roche's company, Rex Levitates, lighting its new production, Bread & Circus, which opens at the Project on Tuesday. It is the respected company's latest attempt to drag the hitherto unwilling middle orders along for a night of men in tights. As artistic milieus go, modern dance tends towards the stratospherically obscure end of the spectrum, a forbiddingly abstract domain that prompts much bewildered scratching of heads among non-specialists. Steinberg's supplied biography is, in this vein, scrupulously abstract, talking of her ability to explore how light 'captures movement, dictates emotion and sculpts space'. It's a role, she adds in person, that involves 'using more abstraction and emotion' than 'just shining a light on someone's face, as in the theatre'. The obscurity of modern dance, which can seem wilful, means that shows, rare in themselves, and getting rarer since the Arts Council took a hatchet to the funding of some dance companies earlier this year, tend to attract only the zealots. There are exceptions - Irish Modern Dance Theatre's production The Last Supper, an impeccably choreographed, raucous bunfight held in the Trocadero restaurant last October - but they're few. Generally dance is for the committed few and the nonplussed salary men accompanying their wives and partners on the off-chance that it may be the type of dancing to which Michael McDowell recently objected. Steinberg points out that the problem for dance in Ireland is that the audience just doesn't seem to cross over. 'In Italy, for instance, you have a theatre audience, an opera audience and a dance audience, and they follow everything to become one audience. It would be nice if that could happen here. 'Dance is an emotional experience and it can be a life-changing experience. What does it mean? Well what does it make you feel like?' Steinberg grew up in 1980s' Los Angeles, the daughter of a wealthy movie lawyer and successful interior designer. 'I grew up dancing and have danced all my life, but my experience was in the creative and interpretative dance,' she says. 'Of course, like every other child I wanted to be a ballerina, but my dance training was very personal, and while it had the discipline of the Martha Graham school it stressed relationships to objects and to poems.' She and Edge have two children, aged three and five, and have just moved into a house in Killiney, which was bought last year but completely renovated. 'It's a huge relief,' she says. 'We were renting for four years.' They also have homes in France and California; what about the joys of rural Ireland? She laughs. 'No. I really must get to know more of Ireland, but it takes so long to go so close.' She is fascinated by the changes in Irish society she has witnessed since she moved here nine years ago. 'I feel lucky to have come here when I did and seen the changes. People now seem much more open and willing to deal with both their political and personal history.' On an everyday level, Steinberg says she feels much more comfortable with Dublin today as a result of its growing ethnic diversity.
'Remember, I grew up in LA, which is a very gritty city. In ways it's like a third-world city, with different international peoples. When I was here first, I was asking, 'Where's the Chinese quarter? Where's the Indian quarter?' It took me a long time to get used to that.'
The couple married last year and she describes her husband's lifestyle as 'very tightly knit. It's all about close friends. But I don't mind, I can walk anywhere and go into different worlds.' While it is obvious she doesn't want to talk about her husband -'There's no real need to discuss him, is there?' - one gets the impression this is as much to do with her wish to help Rex Levitates as it is from celebrity paranoia. Now that her children are older, Steinberg tries to take on more projects. As well as more dance, she is also keen to direct more movies and has, she says, a number of scripts that she is looking at. 'I love working in film. There's a lot of great talent out there and a lot of great writers. I believe that the gift of the Irish is their written and spoken word and their sense of humour.' She believes that Irish people also have a far better understanding of international affairs than her countryfolk. She is political, she says, in so far as 'things do move me emotionally,' but when it comes to specifics is deliberately ambiguous. Was she pro or anti-war? 'That's difficult.' Next week's performances are the culmination of a long involvement 'at the conceptual stage' with Rex Levitates. 'It's really nice to be taken in at an early stage,' she says. She obviously stands in admiration of how Rex Levitates ' founded in early 1999 by Liz and Jenny Roche - has managed to gain credibility at dance's leading edge from such an unpromising geographical location. The company has won a host of awards and international invitations for its pieces, The Salt Cycle, Trip Down and Their Thoughts are Thinking Them. Steinberg met Liz Roche when she lit the RHA fringe gallery exhibition in 2001. 'She saw that piece and told me she was struck by the directness of it. I wasn't trained as a lighting designer but after years of performing I started lighting just for fun. 'I guess I knew the genre and I am quite a visual person, so it wasn't difficult to translate.' As her mobile phone rings, she excuses herself and answers it. She tells the caller to phone her at home later before realising that she does not yet know her phone number. 'Not to worry,' I say. 'I'm sure it's in the phone book.' An indulgent smile issues from the dark-eyed American beauty, and then she is gone.

I found this pic & I wonder if this is Morleigh's sister, Roxanne? It's from her facebook. Also I found these pics & info, too. I don't know. That's why I was wondering if anyone knew.

Roxanne Steinberg: Choreographer

ROXANNE STEINBERG is a founder of BODY WEATHER LABORATORY in L.A. (1988) and has been performing with OGURI since 1990. She has danced worldwide and performed in special projects for MIN TANAKA'S opera choreography and in FIFTH by AMAGATSU of SANKAI JUKU. She has choreographed works for BODY VOX in Portland, Oregon, LAUREN BON'S NOT A CORNFIELD and FARMLAB in downtown Los Angeles. Her solo dance work has been presented in OGURI'S FLOWER OF THE SEASON in Venice and she received a DURFEE ARTS GRANT for her piece at CONVERSATIONS at THE FLEA in New York where she will be perform again April 7th 2009. She is an artist in residence at the ELECRIC LODGE in Venice.

 

[greety]

I know it's a bit off topic, but yesterday I saw footage of Sit Paul McCartney being honoured at the white house and for a brief moment I thought Morleigh was sitting next to the President, just until I realised it was Paul's woman

Macca's new lady love looks soo much like Morleigh

 

[Morleighfan]

Yea, I did some investigative work yesterday. It's hard to find pics of her sister. I hear she had a sister.
This article is about a dance production that both Morleigh & Roxanne were in back in 2006.
At its heart, a dark tale old and familiar

First there is the face: Astonishing in its many guises, this is a visage simultaneously old and young, ecstatic and empty; one where a surprised look becomes a world of wisdom living within a sly, sweet smile. This is the face of Oguri, butoh master and L.A. jewel. That his body is also a pristine, pliant work of art makes an Oguri performance a profound journey unlike any other.

And so it was Saturday at Venice's Electric Lodge, when the dancer presented "Caddy! Caddy! Caddy!" Inspired by William Faulkner's "The Sound and the Fury," the 55-minute work was its own poetry, gushing with physical, emotional and spiritual depths.
Accompanied by Paul Chavez's deliriously original score (performed live), Oguri pierced the heart of Southern family darkness, and with it, our own. His latest dance troupe -- Honeysuckle (Jamie Burris, Morleigh Steinberg and Roxanne Steinberg) -- completed the remarkable, fractured picture.
Sprawled on a child's chair on a small wooden platform (think cozy front porch), Oguri, in white face and carrot top-like wig, wore baggy pants and a shirt. Unblinking, he moved only his head, so slowly as to be virtually imperceptible in the dim, amber light. A faint train whistle sounded; the head now cocked.
A million stories played out in these moments of near stillness before Burris, clad in a floral print dress, stealthily entered the narrow pool of water separated from the stage/porch by barbed wire. Clutching a calla lily, she began spinning.
Oguri responded with a silent, anguished scream, eventually contorting himself into and around the chair in what would become a prolonged, startling exit.
Roxanne Steinberg appeared in black pumps and dress, an enigmatic tableau moving her long, bony legs unnaturally. She was a 21st century hair-tossing Veruschka to Morleigh Steinberg's athletic mime, the latter arriving in a man's suit, straw boater and cowboy boots. Scattered piano sounds accompanied this squatting, bouncing, backward-walking dance, before Morleigh, wading into the water, stripped down to a slip, then straddled and snipped the wire.
Liberated, the women (three Graces, albeit ones swatting imaginary flies) frolicked in hide-and-seek mode, the music swelling to herald Oguri's reentry. Naked and wigless, he semi-reclined in the pool, smoothly slithering into Morleigh's shed suit.
Finally, upright and facing the audience, Oguri -- hat in one hand, book in the other -- was the mysterious stranger, a gentleman caller, that much-needed emissary beckoning from beyond.
Here's another article about Roxanne.
"Bodies of Light" at James Cohan Gallery
New York
Oct. 23 – Nov. 28
ideo-art pioneer Bill Viola returns to James Cohan Gallery with his fifth solo exhibition, "Bodies of Light." With the help of cutting-edge technology, Viola creates immersive works of art in which light reigns and time seemingly stands still. In the gallery’s main space, the viewer first encounters Pneuma (1994), a projection of alternating images that envelop the room while white noise plays in the background; surrounded by the images, the viewer comes to interpret them as fleeting memories rather than as recordings of real places and events. Also on display are several works from the artist’s ongoing "Transfiguration" series, which he developed from his celebrated installation Ocean Without a Shore (2007). Here, blurry figures captured in black and white slowly advance through space. As the figures come into focus, they briefly enter a world of color before returning to a colorless state, like spirits caught between life and death. Whether wrestling with the theme of birth or death or human consciousness, Viola continues to explore perception as an avenue to re-creating universal human experiences.

Bill Viola, "Incarnation" (2008). Color high-definition video on plasma display mounted on wall. Performers: Roxanne Steinberg and Oguri, 8:55 min.

Morleigh & Roxanne
​

Caddy! Caddy! Caddy!! William Faulkner Dance Project

Conceived and choreographed by Oguri
Set Design: Hirokazu Kosaka and Oguri
Soundscore: Paul Chavez
Costumes: Oguri and Roxanne Steinberg
Lighting: Tony Mulanix and Oguri
Dancers: Oguri, Morleigh Steinberg, Roxanne Steinberg, Jesske Hume, Eric Losoya.

Oguri, an internationally acclaimed dancer/choreographer and a resident of Southern California since 1990, conducts Body Weather Laboratory a forum for investigating the body and dance (founded by Min Tanaka in Japan, 1978). In Japan, he studied fine art with Genpei Akasegawa and dance with Tatsumi Hijikata before working extensively with Min Tanaka
farming, performing and presenting solo work in Tokyo.
Since moving to the USA, he has taught and performed worldwide. The 2005 documentary film
Height of Sky by director Morleigh Steinberg follows his 4-year project, an exploration of the California
deserts in search of a dance between the human body and the borderline. He is an artist-in-residence at the Electric Lodge in Venice, California.





Roxanne
Flower of the Season / Body Weather Laboratory

Dance
Jesske Hume, Heather Ehlers
Rosemary Candelario, Eric Losoya
Meyu Kobayashi, Kim Nakakura
Heyward Bracey, A.Dola Baroni
Ariadna Rodriguez Cima, Joyce Lu

Music and Sound Design
Brian Saitzyk, Robert Scott, Joe Berardi, M.Deragon,
Javier Abad, Jesske Hume and Ariadna Rodriguez Cima

Lighting and Staging
Flower of the Season

Flower arrangement by Oguri and Roxanne


Flower of the Season is the extension of the Earthbeat series Oguri and Steinberg began ten years ago to foster collaborations between visual artists, musicians, writers and dancers. Together, with the work of percussionist Adam Rudolph, sculptor Stephan Glassman, artist Hirokazu Kosaka, musicians Wadada Leo Smith, G.E. Stinson and Nels Cline, Robert Scott, Arnie Saiki, Myra Melford and Alex Cline and dancers Roxanne Steinberg, Melinda Ring, Mia Doi Todd and Jamie Burris, Sherwood Chen, Boaz Barkan, Claudia Lopez, Lillian Barbeito, Benjamin Jarrett, Eric Losoya, Jesske Hume, Magali Gajan, Heyward Bracey, Asher Woodworth and Oguri has continually explored boundaries between audience and stage, creating fresh contexts for the presentation of art and performance.

In its fourth year, the series continues to evolve as a platform for the development of new and important dance explorations by a variety of local and international artists. Yearly these dancers are chosen to train together at Body Weather Laboratory, developing individual interpretations of a common vision. Flower of the Season has indeed become a pilgrimage - drawing dancers, choreographers and musicians to a seasonal offering of blossoming creativity.

Dance and performance are temporal arts that exist in the present just as the splendor of the flower is fleeting. A flower seeks the light, growing and developing accordingly. It finds the right time and right place to blossom. It shares its beauty as a function of its being, not an arbitrary choice. These performances will be the unique expression and seasonal response of each solo dancer.


Artistic Direction: Roxanne Steinberg and Oguri
House Manager: Natsuko Satomura
Video documentation: Javier Abad and Moshe Hacmon
Box Office: J. Todd
Special Thanks: Joel Shapiro, Lizl Pace, Alberto Hernaudez Lenny and Bob Steinberg,
This performances is supported in part by City of Los Angeles Department of Cultural Affair, the Los Angeles County Arts Commission OGP-1 program and The Electric Lodge.
Body Weather Laboratory Training Workshop at Electric Lodge:
Wednesday 10:00 am ~ 1:00 pm |Sunday 12:30 pm ~ 3:30 pm

 

[Niamh_Saoirse]