Category: Blogcast

Steve Swell's Kende Dreams

What: Trombonist Steve Swell presents Kende Dreams, an homage to Hungarian composer Béla Bartók.
When: Sunday, December 4, 2016
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $25/20 Online $20/15 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – Steve Swell‘s curiosity and passion for extending the bounds of the vocabulary of the trombone has garnered him the reputation of being an asset to any ensemble. For this evening, Swell calls up his quintet — featuring Rob Brown on alto saxophone, Dave Burrell on piano, William Parker on bass, and Chad Taylor on drums and percussion — to present Kende Dreams, an homage to Béla Bartók. The piece sources its name from the “Kende,” the spiritual leader of the early Hungarian tribe known as the Maygars. Although thought to be wiped out, the spirit of the Kende strives to assert itself in art, music and throughout modern society. This program will feature some of New York’s premier improvisers playing music inspired by Bartok and Olivier Messiaen.

A native of Newark, NJ, Steve Swell has been an active member of the NYC music community since 1975. Having toured with and recorded with artists such as Anthony Braxton, Bill Dixon, Cecil Taylor and William Parker, Swell counts over 40 CDs to his name and is a featured artist on more than 100 other releases. In addition to running workshops around the world, Swell is a teaching artist in the New York City public school system focusing on special needs children.

Featuring:
Steve Swell – Trombone, Compositions
Rob Brown – Alto Saxophone
Dave Burrell – Piano
William Parker – Bass
Chad Taylor – Drums, Percussion

Curated by Meredith Monk: Missy Mazzoli // GABI

What: Missy Mazzoli and GABI present an evening of vocal exploration curated by Meredith Monk.
When: Thursday, December 1, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors $50 Series Pass
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door, $50 Series Pass

Brooklyn, NY – Composers and performers Missy Mazzoli and GABI join forces for a rare night of solo and collaborative performances exploring the ethereal fringes of electronic music, classical virtuosity, glitchy vocals, and extended techniques.

For this performance, Missy Mazzoli brings her trademark blend of harmony-drenched electronic soundscapes, virtuosic piano performance, and eccentric minimalism to Roulette’s stage. Mazzoli will perform as a soloist and in new collaborations with Aaron Roche (guitar, voice), Ludovica Burtone (violin) and Gabrielle Herbst (voice). She will present new compositions for electronics, piano, synths, guitar, strings, and voice, accompanied by new films created for her work. Mazzoli is a Brooklyn-based composer and pianist who has received wide critical acclaim for her chamber, orchestral and operatic work. Her first chamber opera Song from the Uproar, based on the life of Swiss explorer Isabelle Eberhardt and featuring a libretto by Royce Vavrek, premiered at The Kitchen in March 2012. She is the founder and keyboardist for Victoire, an electro-acoustic band dedicated to performing her music. Mazzoli is a 2015 recipient of the Foundation for Contemporary Arts Grants to Artists Award.

GABI (née Gabrielle Herbst) performs new experimentations for voice and ensemble inspired by dissolving genres and incorporating her pop sensibility within an evolving landscape of opera. GABI will experiment with extended technique, textural looping, and theatrical performance to present new spatial music for two voices and two harps, as well as music for saxophone, piano, percussion, and electronics. Herbst’s formal training began at an early age, studying Balinese dance and gamelan in Indonesia while learning both the clarinet and piano. She continued her training at Bard College where she studied voice and composition under the tutelage of Joan Tower, Zeena Parkins and Marina Rosenfeld. Her work has been showcased at Robert Wilson’s Watermill Center, as well as Roulette, who in 2014 commissioned and premiered her first opera, Bodiless. GABI released her debut album, Sympathy, on Software Recording Company in 2015.

About the Series: Curated by Meredith Monk features performers selected by Monk who are following his or her own path, asking questions, finding places that fall between the cracks of genres or categories.

[DANCEROULETTE] Kyli Kleven: Triangle Theory

What: Three nights of Kyli Kleven’s Triangle Theory, a dance-based preoccupation with the meaning and depth of shape-making.
When: Monday + Tuesday + Wednesday, November 28-30, 2016
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $15/10 Online $20/15 Doors $50 Series Pass
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $15, Members/Students/Seniors $10, $20/15 Tickets at the door, $50 Series Pass

Brooklyn, NY – Roulette presents three consecutive evenings of Kyli Kleven’s Triangle Theory, a dance-based preoccupation with the meaning and depth of shape-making, specifically of making meaning with/as triangles. The piece began as an exploration of dance’s relationship to form/precision, and has morphed into a dance-driven series of studies mixing craft values with pared down shapes/textures and abstract femme iconography. Making use of visual effects, foam props, and immersive projections, Triangle Theory pays homage to Wendy Carlos’ Beauty in the Beast album, Oskar Schlemmer’s Triadic Ballet, and the very first tripod erected in Nenana, Alaska, which, every spring since, has floated down the broken Tanana river pulling a line of triangles behind it.

Kyli Kleven is an experimental dance artist and video artist based in Brooklyn and originally hailing from Nenana, Alaska. She owes much of her point-of-view to her participation in the art-making practices of Kim Brandt, Ryan McNamara, Jillian Peña, Milka Djordjevich, Jen Monson, Jen Rosenblit, Jen Allen, Kirstie Simson, and many others. She also worked extensively with Our Dads, a dance-making collaborative project with Stevie May, Tess Dworman, and Caitlin Marz, and as a video artist for knitwear designer Stephen West. She studied dance and gender studies at The University of Illinois at Urbana-Champaign and was a 2008 DanceWEB scholar at ImPulsTanz.

The ongoing [DANCEROULETTE] series reflects Roulette’s commitment to presenting experimental dance held since the organization’s founding in 1978, particularly the collaborative efforts of composers and choreographers exploring the relationship between sound and movement, choreography and composition.

Featuring:
Lydia Adler-Okrent
Jessica Cook
Tess Dworman
Angie Pittman

Roulette Announces New Managing Director

Roulette is pleased to announce the appointment of Jamie Burns as Managing Director.

Jamie previously oversaw Roulette’s Access Program as the Director of Special Events and Community Programming. Immediately prior to stepping into the role of Managing Director at Roulette, she served as the Membership Engagement Manager at PEN America, a human rights and literary organization that advocates for free speech and celebrates literature around the world. At PEN, she oversaw initiatives and programming aimed at growing and diversifying PEN America’s membership of 4,500 writers and artists. Jamie comes to Roulette with a background in publishing, having served as a Commissioning Editor, Managing Editor, and Director of Publishing at Common Ground Publishing, a scholarly publisher and conference organizer focused on the arts, humanities, and social science. At Common Ground, she expanded the organization’s journal offerings from 24 to 89 journals and helped organize book launches, receptions, and more than 20 international conferences in nine countries. Before earning her master’s degree in Comparative and World Literature, she worked in non-profit development and volunteer coordination at the Tomas Rivera Policy Institute in Los Angeles and Interfaith House, an organization that provides healthcare and housing for the homeless in Chicago. Jamie speaks Spanish and Portuguese and has lived and undertaken research in Spain, Ecuador, and Brazil as both a Rotary International Ambassadorial Scholar and a Foreign Language and Area Studies Fellow. A member of the Brooklyn Book Festival’s Bookend Events Committee and the Lit Crawl NYC Advisory Council, Jamie also co-chairs the Events and Communications Committee for the Brooklyn Eagles, the Brooklyn Public Library’s young professionals board. Jamie is a 2015-16 Emerging Leaders of New York Arts Fellow.

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By Mia Wendel-DiLallo

Archivist of the unexpected; Documentarian of energy; Emissary of the omniscient; Steward of experimenters. — It is hard to imagine that these divergent and elusive nomenclatures could describe a single person. Yet Victoria Keddie encapsulates these (and many more) titles, and assumes each with the precision of a scientist, the imagination of an artist, and the curiosity of an explorer.

For fall 2016, Victoria has been invited by Roulette director Jim Staley to organize a video-based festival that approaches the medium in a new way, excavating what is going on in experimental video right now. The festival is multi-day, running from November 2 – 4, and will return in the fall of 2017 to explore timely topics in video composition. For the November 2016 iteration, Victoria has divided the festival into three days, under the titles: Parallax View; TV EYE; and Encoder/Decoder.

In Parallax View, Victoria presents artists who use synthetic space and fantastical architectural environments, and who engage in building and creating elaborate worlds. It features Jeremy Couillard, who premiers his virtual reality game which begins at the last ten minutes of your life, and includes audience engagement in this sinister activity. Victoria brings Canadian artist Sabrina Ratté to New York, for a live video performance of her architectural mapping projections which depict an entirely imagined universe.

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TV EYE features artists using different signatures of televisual practice, including explorations of their involvement with a live audience, camera play, seriality, and timing. The evening includes a screening component as well as live performance. Encoder/Decoder, presents artists whose process takes precedence over the product, in a night of live performances delving into signal-based works for sound as well as video. These artists work with restrictive systems using algorithms or a series of rules and constraints to produce the piece.

This project is a culmination of Victoria’s unique audio visual explorations. Sound is at the start of her creative process, and it is through sound that her projects in video, choreography, and curation are realized and become compositions unto themselves. Creating and stressing these points of contact, or “dialogue” as Victoria puts it, between sound and other art forms is an essential part of her work. While sound is a foundational constant to her practice, she puts the stability of it to the test again and again, probing the outer limits of its ability, the depth of its uncertainty and, as a self proclaimed mediator, strives not only to forge but to reveal the breaking point of the bonds. In Victoria’s Aelita (2014) a single channel video piece dedicated to the Queen of Mars, she seeks the fallibility of repetition in a live session recording of balanced sound and video waves. Exploring the point just before the signal collapses, she works to “show and expose, these moments right before something gets pulled away.” It is these moments of collapse she finds the most beautiful and in “trying to pick up on signals and interference, unknown interference, discontinuities of sound…That’s where the mystery of it is.”

Victoria began her trajectory studying the preservation and archiving of the moving image, but turned instead to the collection and documentation of sound artifacts. From there, her work branched off into an inquiry of the term “media” — how to collect and record radio, sound experiments, and video work. From an archivist standpoint, Victoria sees analog machinery as key in the presentation of sound and video because of its relationship to electromagnetic signal. Analog works by “pushing and pulling at the signal in a kind of language structure” through which Victoria can develop her own language. She finds this language of the electromagnetic compelling because “we exist in a magnetic field, we ourselves have that energy, we are conduits….It is directly linked to how we exist and what we exist in.” And, she says, it is paramount to “work with machinery that is geared to vocalizing that or visualizing that, or trying to communicate it.” This is what she calls a “close language” that is laid open in her work, either for interpretation or obfuscation. That dialogue takes into consideration “how the room I am in also participates in this, as well as what my body is doing and how much the choreography of my body is interacting with the machines I use.”

Further explorations of the human relationship to machines can be seen in her performance piece Headbanger (2015), which explores complex questions such as: What are the primordial rhythms we find even in states of complete repose? What are the breaking points of these states? What is the machine that documents us? Who mothers us through all of this? Headbanger involved a visual score, a visualized sound recording, a fabricated stainless steel sculpture, and a live performance. The performance was focused around a sleep related rhythmic movement disorder, referred to as “headbanging,” in which the patient repeatedly and forcibly bangs or slams their head while sleeping. There is a “violent percussion,” as Victoria calls it, in this repetitive motion, documented by a polygraph unit, and translated by observers of the machine’s results. Victoria became transfixed with the “strange artifact and presence of the machine,” which in another sense is the “translation of the unconscious state.” In the same way that we wonder why we remember certain dreams, Victoria wanted to expose the complexities of why we retain a quasi-rhythmic structure while in sleep and what it means for the conscious, waking world.

“The machine” figures strongly in her projects as the conveyor of the “omnipresent authorship” of a controlled situation. Her works in surveillance, in particular, touch on the unseen narrative. In Victoria’s Cannibal Méchanique installation she coordinated machine play, live sound, and larger-scale choreography to determine how we can communicate and understand movement. Historically, the viewer watches these actions through a single lens, stationed solidly at one angle of the room, which loses the experience of the dancers, the energy of the performance, and the shape of the space. Following the typical example of museum surveillance, Victoria multiplied the cameras in the room so that “you were seeing what was perhaps, invisible” and were, furthermore, able to witness a once invisible presence watching and recording. It is easy to conclude that these themes of surveillance are allusions to the government, to being constantly watched without our knowledge and without our permission. Surveillance, with Victoria, resists these tropes, setting aside the “big-brother” presence, and focusing on the all-seeing, omnipresent author. Her focus is to highlight “something already present that I’m tapping into.” The concealed hand has been made obvious, although not entirely explained.

Ominous, sinister, expansive, and strange, you move through Victoria’s work, whether it be a dance performance, video festival, or a visualized soundscape, with the sense of Another. Moving her hands like a puppeteer, she refers to the great “author,” whom one can imagine shifting time and space without the weight of moral obligations. Although she insists that she is not personally this omnipotent presence, you cannot help but see a majestic reflexivity in Victoria Keddie’s orchestrations of sound, video, and performance.

Curated by Meredith Monk: Theo Bleckmann’s Hello Earth! The Music of Kate Bush

What: Theo Bleckmann reinterprets the music of Kate Bush for the second installment of the Curated By Meredith Monk series.
When: Saturday, November 26, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors $50 Series Pass
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door, $50 Series Pass

Brooklyn, NY – Vocalist Theo Bleckmann takes on the mysterious songbook of British pop recluse Kate Bush by not merely recreating Bush’s music but taking it into other realms of sound and interpretation. Bush’s œuvre is mysterious and often enigmatic in nature: unusual song forms, oracular lyrics and unpredictable meter- and harmony-changes are an anomaly in pop music, making her oeuvre the perfect vehicle for Bleckmann‘s distinctive, interpretive spirit and interest in the unusual.

Kate Bush’s use of British and Irish myths, her references to psychology, literature and film, her meticulously multi-layered productions and her unusually high voice make her idiosyncratic body of work challenging for other artists to interpret. Bleckmann first heard Bush as a young teenager and was immediately intrigued: ”Her music has this thing that I love in art: you’re instantly drawn into someone’s universe without really knowing why but somehow understanding everything in your heart.” Many teenage pop heroes came and went, but Kate Bush remained a constant in Bleckmann‘s life. “Her songs and records never became obsolete – I now realize that the way she layered sound, speech and music became a major influence for my live electronic looping aesthetic.” For Hello Earth!, Bleckmann chooses songs that warranted a different interpretation.

A jazz singer and new music composer of eclectic tastes and prodigious gifts, GRAMMY-nominated Theo Bleckmann makes music that is accessible, sophisticated, unsentimentally emotional, and seriously playful. A resident of New York City since 1989, Bleckmann has released a series of albums on Winter & Winter, including recordings of Las Vegas standards, of Weimar art songs, and of popular “bar songs” (all with pianist Fumio Yasuda); a recording of newly-arranged songs by Charles Ives (with jazz/rock collective Kneebody); his acoustic Solos for Voice I dwell in possibility, and his highly acclaimed Hello Earth – The Music of Kate Bush. Bleckmann has worked with Meredith Monk as a core ensemble member for over fifteen years.

About the Series: Curated by Meredith Monk features performers selected by Monk who are following his or her own path, asking questions, finding places that fall between the cracks of genres or categories.

Ron Stabinsky: Free for One Album Release Celebration // Tom Blancarte Solo

What: Pianist Ron Stabinsky celebrates the release of his debut album, Free for One.
When: Tuesday, November 15, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – In celebration of the release of his debut album Free for One, Ron Stabinsky presents an evening of solo piano improvisations. Hailed as a “stylistic chameleon” by All About Jazz, Stabinsky has developed his improvised solo language through decade of performance in top music ensembles.

Stabinsky’s performance will be preceded by a solo set from bassist Tom Blancarte. Taking the impossible task of translating the solo saxophone language of Evan Parker into a new language for the double bass as a point of departure, Blancarte (member of Seabrook Power Plant, Peter Evans Quintet, Sweet Banditry) uses every contemporary upright bass technique available in a quest to force something new and original out of that most intractable of instruments.

Pennsylvania-born jazz pianist Ron Stabinsky has performed in a stylistically diverse array of situations throughout the United States and Europe with many other musicians and ensembles, including free-improvising saxophonist Jack Wright, bass trombone virtuoso David Taylor, Meat Puppets bassist Cris Kirkwood, and NEA Jazz Master David Liebman. Recent festival appearances include Newport Jazz Festival, North Sea Jazz Festival (Netherlands), Moers Festival (Germany), and Jazz and More Festival Sibiu (Romania). Stabinsky is a regular member of the band Mostly Other People Do the Killing, the new music ensemble Relâche, the Charles Evans Quartet, and the Peter Evans Quintet.

For over a decade, Texan bassist Tom Blancarte has contributed a vivid palette of dark frequencies to New York’s creative music scene, both as a freelance performer as well as a member of bands such the Peter Evans Quintet, Seabrook Power Plant, Totem, Sparks, The Gate, Sweet Banditry, and more. A native of the Texas Hill Country in Austin, Texas, his formative years included a steady diet of fantasy and sci-fi novels, comic books and video games, and later on a total immersion in death and black metal.

Mick Barr and Judith Berkson

What: Guitarist Mick Barr and vocalist Judith Berkson share a program of premieres written by each other.
When: Monday, November 14, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – Roulette hosts an exemplary evening of premieres from Mick Barr and Judith Berkson, offering a rare occasion to hear the artists perform each other’s pieces. The program will include Berkson premiering Barr’s piece Wethantheld (2015) for voice and organ followed by Barr premiering a new work from Berkson. Berkson will also premiere a new piece for piano and her 72-tone microtonal voice.

About Mick Barr:

Active since the mid-1990s, Mick Barr is known primarily for his angular, fleet guitar playing and intricate avant-garde compositions. Known for straddling  the worlds of heavy metal and experimental music, Barr’s distinctive voice is always present no matter what the context. Barr’s musical output of nearly 100 releases spans a range of collaborative and solo projects. Barr was active in the math-punk outfit duo Crom-Tech (1996-1999) and his technical duo Orthrelm (2001-2012). He began producing music through his solo vehicles Ocrilim and Octis in the early 2000s. Barr is affiliated with bands such as the black metal project Krallice and the Flying Luttenbachers, and he has participated in improvisational collaborations with musicians including Zach Hill, John Zorn, Jon Irabagon, Marc Edwards, and Zeena Parkins.

About Judith Berkson:

Judith Berkson is a soprano, pianist and composer living in Brooklyn, New York. She studied voice with Lucy Shelton and composition with Joe Maneri at the New England Conservatory. She has collaborated with Kronos Quartet, Wet Ink, Yarn/Wire and City Opera and has presented work at Picasso Museum Malaga, Roulette, Le Poisson Rouge, Joe’s Pub, The Stone, Barbès and the 92 Street Y. She is the recipient of a Six Points Fellowship, a Jerome Foundation grant, Meet The Composer grant and support from the New York Foundation for the Arts. Her solo album Oylam (ECM Records) was called “Standards and Schubert and liturgical music, swing and chilly silences, a beautiful Satie-like piece to open and close the record” by the New York Times.

Zeena Parkins and Green Dome

What: Avant-harpist Zeena Parkins performs a new solo set, followed by a performance with her band, Green Dome.
When: Wednesday, November 9, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – Avant-harpist Zeena Parkins performs The Captiva Pieces, a solo set of new works for acoustic harp developed for In Tow, a collaborative project with choreographer Jennifer Monson, and created at the Rauschenberg Residency on Captiva Island, Florida. The performance will be followed by Zeena's band Green Dome (members Ryan Ross Smith and Ryan Sawyer), who will be performing movements from LACE, an ongoing project that uses pieces of lace and knitting patterns as scores.

About Zeena Parkins:

Zeena Parkins is a composer, multi-instrumentalist, improviser and pioneer of contemporary harp practice and performance. She has extended the language of both acoustic harp and an evolution of her original electric ones, through the inventive use of expanded playing techniques, preparations, and custom designed electronic processing. Performances and recordings include: Bjork, Ikue Mori, John Zorn, Fred Frith, Christian Marclay, Elliott Sharp, Maja Ratkje, Nate Wooley, Okkyung Lee, Kim Gordon, Thurston Moore, Lee Ranaldo, Matmos, Yoko Ono and Yasunao Tone.

About Ryan Ross Smith:

New York-based composer and performer Ryan Ross Smith has performed as a pianist and electronicist throughout the US, Europe and UK, including performances at MoMA, MoMA PS1, LaMaMa, and Le Centre Pompidou. Smith has presented his work on animated music notation at conferences including NIME, Tenor2015, ICLI, ISEA and the Deep Listening Conference, and has lectured widely at colleges and universities.

About Ryan Sawyer:

San Antonio-born drummer Ryan Sawyer honed his craft through academic orchestra and marching band and was quick to find the colloquial conjunto, zydeco, and punk rock music of his hometown equally inspiring and freeing. Ryan plays and records with an ever-growing group of improvisers and bands: Oso Blanco (members Colin Stetson, Nate Wooley, C. Spencer Yeh), Boredoms, Cass McCombs, Thurston Moore, Matana Roberts, and Rhys Chatham, among others.

New Roulette TV: KEELY GARFIELD // POW

Roulette TV sits down and talks with Keely Garfield about such things as her artistic practice, the power of dance to allow the artist to be fully present in a moment, and the relationship of Frankenstein to the development of POW.

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Keely Garfield’s personal and professional engagement in the world at large is the heart of all of her creative work. Alongside her choreographies for her acclaimed company, Keely Garfield Dance, the British-born choreographer, dancer, teacher, and curator has created work for ballet dancers at the Dance Theatre of Harlem, directed the movements of antique puppets for The Czechoslovak-American Marionette Theatre’s production of Golem, and choreographed musical theater productions including Gypsy (Sundance Theatre, Utah), Carnival (New Jersey Shakespeare Festival), and Yeast Nation, The Triumph of Life! (Perseverance Theater, Alaska). Keely has made dances for students (Barnard, Hunter, The New School etc), children (DTW’s Family Matters, Lincoln Center’s Reel to Real etc), and MTV (Adam Ant, Herbie Hancock). Keely holds an MFA from UWM, and is engaged as a visiting professor of dance in many university departments. Additionally, Keely is an E-RYT 500 yoga teacher, a Donna Karan/ Urban Zen Integrative Therapist working in oncology and hospice.

Produced by
Jim Staley

Directed by
Wolfgang Daniel

Photographed by
Wolfgang Daniel
Sonia Li