The Compassion Arts

& Culture and Animals Festival

Featuring the World Premiere of And the Hummingbird Says . . .

by Mihoko Suzuki and Martin Rowe

Leonard Nimoy Thalia Theater

at Symphony Space
2537 Broadway, New York City

Saturday October 21, 2017: 1:45–3:45 pm and 7:30–10:30 pm

Sunday October 22, 2017: 1:45–5:30 pm and 7:30–11:00 pm
plus an art exhibition: Friday 5:00 pm–Sunday 6:00 pm at 208 E. 73rd St.
 Art Show: Beasts of Burden Festival Schedule
Our Complex Relationship with Animals

Featuring art by Jo-Anne McArthur, Moby, Performances

Jennifer Wynne Reeves, Jane O’Hara, Karen
Fiorito, Nancy Diessner, Wendy Klemperer, Tony Openings
Bevilacqua, Denise Lindquist, Gedas Paskauskas,
Ariel Bordeaux, Adonna Khare, Raul Gonzalez
III, Julia Oldham, and Moira McLaughlin.
Events
O’Hara Projects. 208 East 73rd Street
SUNDAY OCTOBER 22—AFTERNOON
(Off Third Ave at TUF Gallery)
11 am–6 pm: Art Show: Beasts of Burden
FRIDAY OCTOBER 20 O’Hara Projects. 208 East 73rd Street.
5–8 pm: Art Show: Beasts of Burden Reception 1:45 pm: Introduction and Welcome
2:00 pm: The Music of Michael Harren: a multi-
SATURDAY OCTOBER 21—AFTERNOON media performance blending humor with candor
11 am–6 pm: Art Show: Beasts of Burden to convey the importance of keeping all animals
O’Hara Projects. 208 East 73rd Street. safe from harm. With string quartet.
1:45 pm: Introduction and Welcome 3:00 pm: Break
2:00 pm: And the Hummingbird Says . . . : Composed 3:15 pm: Kedi (2016): dir. by Ceyda Torun, about the
by Mihoko Suzuki, with words by Martin street cats of Istanbul.
Rowe. A song cycle based on the life and ideas of 4:45 pm: Discussion between Ayten Alkan, a
Wangari Maathai, the Kenyan environmentalist Turkish academic who’s explored the lives of stray
and 2004 Nobel Peace Prize Laureate. Featuring dogs in Istanbul, and Yanoula Athanassakis of
Elaine Lachica (soprano), Hai-Ting Chinn NYU’s environmental humanities department.
(mezzo), Michael Steinberger (tenor), and Steven 5:30 pm: Break
Moore (baritone). With Tim Cramer (sound).
SUNDAY OCTOBER 22—EVENING
3:00 pm: Signing of Hummingbird CD.
7:30 pm: Introduction and Welcome
3:45 pm: Break
7:45 pm: Sanctuary: A Radio Play: John Yunker’s
SATURDAY OCTOBER 21—EVENING radio play on fraught relationships over
7:30 pm: Introduction and Welcome Thanksgiving dinner is recorded live by the
7:40 pm: Tom Regan: A Life by Dale Jamieson members of Our Hen House.
8:00 pm: Reflections on Beasts of Burden: Singer- 8:45 pm: Break
songwriter Joy Askew, artist Jane O’Hara, and 9:00 p.m.: The Journeys of Abu’l Abbas and Al-Hindi:
poet Gretchen Primack weave song, spoken Radhika Subramaniam traces the story of the
word, and art to express our complex, tragic, and elephant given to Charles the Great by Caliph
indispensible relationship with other animals. Harun al-Rashid, in an examination of the
9:00 pm: Break relationship between human and animal, Europe
9:15 pm: Captive: Canadian photojournalist Jo-Anne and Asia, and human and animal migration.
McArthur discusses with Martin Rowe her 9:45 pm: Break
images of animals in the human environment, 10:00 pm: Food-Chain Re-imagined: Singer-
and introduces Captive (her most recent work, songwriter Ellie Sarty, spoken-word artist and
launched in NYC this evening): photographs of curator Donald Vincent, and others offer music,
animals in zoos and aquaria. video, and performance on social justice,
10:00 pm: Booksigning animal advocacy, and kinship.
10:30 pm: End 11:00 pm: End
Welcome! About the Festival Co-Presenters

Compassion Arts and the Culture & Animals Compassion Arts Festival
Foundation (CAF) welcome you to the Compas-
facebook.com/compassionarts
sion Arts & Culture and Animals Festival: a twitter.com/compssnArts
weekend of song, artistry, and discussion on compassionarts.org
our multifaceted relationships with Earth and
the animals with which we share it. Culture & Animals Foundation
facebook.com/cultureandanimals
As well as the artists we present, we’re honored twitter.com/cultureanimals
to host the world premiere of And the Humming- youtube.com/cultureanimals
instagram.com/cultureanimals
bird Says . . . , a song cycle on the life and ideas of
linkedin.com/company/18248001
Wangari Maathai. You can read about Wangari, cultureandanimals.org
the cycle, and more on pages 3–10.

We thank Symphony Space, Monica Broadman, Tom Regan (1938–2017)

Jeff Goad, and associates in the sound, lighting,
and projection departments for their assis- This Festival honors the life and
tance. We appreciate the commitment, artistry, legacy of the late Tom Regan—
and knowledge of all who are presenting and CAF’s co-founder, and one of the
most important voices in the modern
performing. We thank Laurie Johnston and Two
animal advocacy movement. Tom
Trick Pony; Cyrus Mejia for “Encounter,” the
was the author of the groundbreaking
painting on our program cover; Mike Crehore
The Case for Animals Rights (1983)
and Patricia Sarty; Marisa Miller Wolfson for
and many other books on animals, philosophy, and social
em-ceeing; and Jane O’Hara and O’Hara Proj-
justice. With his wife, Nancy, he founded CAF in 1985. For
ects for organizing the art show. We’re grateful
23 years, CAF organized the International Compassionate
to the volunteers, advertisers, and sponsors who
Living Festival (ICLF) in Raleigh, where Tom was a
made this Festival possible. We also thank CAF’s
professor of philosophy at North Carolina State University,
board: Mia MacDonald, Nancy Regan, Jo-Anne
and where the Tom Regan Animal Rights Archive is now
McArthur, Kim Stallwood, Martin Rowe, Marion
housed. Much like this festival, the ICLF brought artists,
Bolz, Gary Comstock, and Mylan Engel.
academics, and activists together to learn from and be
inspired by those opening the doors to our knowledge of
The Festival is raising funds for two charities. other-than-human animals. Tom was a giant in the animal
Proceeds beyond costs from the sale of CDs advocacy movement and he will be much missed. This
of And the Hummingbird Says . . . will go for festival is in his honor and is a continuation of his work.
scholarships to students at the Juba Diocesan cultureandanimals.org w
Model Secondary School (JDMSS) in South
Sudan. We’ve already raised enough for a child through intellectual and artistic expression. For more informa-
to attend JDMSS for all four years. To see how tion on CAF, visit the sites in the box on this page. We hope
you can help other students, see page 6. you’ll give what you can to help these organizations continue to
educate and challenge the next generation of changemakers and
For the remainder of the Festival, all proceeds leaders—in Africa and throughout the world.
after costs go to CAF, which provides grants for
artists and scholars who wish to advance our Martin Rowe for the Culture & Animals Foundation and Ellie
understanding of, and compassion for, animals Sarty for Compassion Arts Festival. w
1
And the Hummingbird Says . . .
Conceived by Mihoko Suzuki and Martin Rowe
Music: Mihoko Suzuki Words: Martin Rowe

Saturday, October 21—1:45 pm

A
nd the Hummingbird Says . . . is a song cycle own musical language. Loss of cultural identity, I
based on the ideas, words, and life of the think, is a fear that many of us non-Westerners have
late Kenyan environmentalist shared at some point in our lives. Wangari’s role as a
and Nobel Peace Laureate, Wangari female politician in a world dominated by men
Maathai (1940–2011)—seen through is another aspect I could relate to, since I’m
the lens of the five classical Buddhist often labeled as a ‘woman composer’ instead
Japanese elements (earth, water, fire, of ‘a composer.’ You won’t necessarily
wind, and void). Mihoko Suzuki and hear what you imagine to be the sound
Martin Rowe were inspired by Maathai’s of ‘Africa’ in this song cycle, but I try to
humanity and her commitment to conservation, convey its spirituality and richness
social justice, women, and the marginalized. You can through polyrhythm and polymeter
read about Wangari Maathai on page 10. in overlapping or juxtaposed sonic
patterns. With the words, the interwoven
The title of the song cycle refers to a fable told to harmonic timbres explore a poetry of sound drifting in
Maathai by a Japanese scholar, about a humming- and out of tonality like a wandering soul.”
bird who tries to put out a forest fire with only the
water in its beak. In the face of ridicule and despair Mihoko writes that she and Martin were drawn to
and passivity from the other animals, who point out Wangari Maathai because of their shared commit-
how insignificant it is and how futile are its efforts, ment to conserve the planet and the other species
the hummingbird replies, “I’m doing what I can.” A who share it with us. Mihoko writes: “It’s so hard to
synopsis and libretto are on pages 7–9. express one’s feelings about the disappearance of so
much biotic life: the subject is so vast and imper-
Martin writes: “Our verbal and sonic influences are sonal. But Wangari’s struggles—as a non-Westerner,
varied. The effect is at once clarity and purity of line as a post-colonial survivor, as a campaigner for
and a collage of sometimes conflicting voices that democracy, and as a passionate defender of Mother
reflect Maathai’s complexities and the difficult, some- Earth—embodied its importance for me.”
times tragic choices facing colonized peoples, envi-
ronmental activists, and people of conscience.” The aim of And the Hummingbird Says . . . extends
beyond one woman, place, or time. It aspires to
Mihoko writes: “My challenge as the composer is take the audience from earth to void in a journey
exactly how much ‘ethnicity’ to bring to the music. that offers the ultimate release from suffering,
As the life of this extraordinary woman was deeply the transformative power of action without ego,
rooted in Kenya, I, who grew up on the other side the recognition of impermanence as the deepest
of the world in Japan, needed to figure out ways to expression of the natural cycle, and a call to repair the
respect and honor her and her culture through my world in the face of devastating climate change. w
3
 Mihoko Suzuki conceives and composes multidisciplinary works
including opera, music-theater, ballet, film, and sound-art installation.
In her dramatic works, Mihoko explores the complex and often contra-
dictory relationship between humans and the natural world; “Litany
for the Animals”—a multimedia opera/oratorio; “This World”—a
song cycle with live audio manipulation of amplified water; “To the
Dogs”—a visual-auditory ritual dedicated to 33 death row dogs at NYC
Animal Care Center. Mihoko has also collaborated in dance works such
as “Sideshows by the Seashore”—with choreographer James Sutton, which won the Columbia Artists-National
Choreography Competition; “Jessica Finds Her Way”—a dance film with cinematographer Valerie Barnes, starring
Jessica Saund (American Ballet Theatre), which featured at Les Instants Vidéo festival in Marseille. Mihoko’s latest
film score, “Desert Widow”—a performance art video by Jil Guyon, has won an Accolade Film Award and the Best
Experimental Film at the Women & Fashion Film Festival. The video work has also been featured at Migrations
Dance Film Festival, U.K, Cinedanse Quebec, Canada as well as San Francisco Dance Film Festival.

In 2011, Mihoko was honored to contribute a piece for the memorial ceremony of Wangari Maathai. Her musical
setting of Alice Walker’s poem “We Have a Beautiful Mother” was performed by Musica Sacra under the direction of
Kent Tritle at the Cathedral of St. John the Divine in New York City.

Mihoko is a recipient of the 2013 New York Foundation for the Arts: NYFA Fellowship in music/sound and Shelley
Pinz Professional Development Award. Her piece for piano 4 hands “Ode to Number 14” was featured in The NYFA
Collection CD last year, celebrating the thirtieth anniversary of its Artists’ Fellowship Program. w

Elaine Lachica (soprano) has performed as a soloist with the New York Collegium, Early Music
New York, Montreal Baroque, Waverly Consort, Opera Omnia, Ensemble Caprice, Mark Morris
Dance Company at Lincoln Center for the Mostly Mozart Festival, Montreal Baroque Festival,
and The Tage Alter Musik Festival in Regensburg. As a new music soloist, Elaine sang David
Lang for Ann Hamilton’s Event of a Thread at the Park Avenue Armory and John Adams’s Grand
Pianola with Timo Andres and David Kaplan. She is a winner of the first Bruce Haynes Interna-
tional Competition for the rhetorical singing of the music of J. S. Bach. Elaine is also a winner of
a 2016 JUNO for Classical Album of the Year (vocal) at the Canadian Music Awards as a member
of L’harmonie des Saisons for their recording Las Ciudades de Oro released on ATMA Classique.

Hai-Ting Chinn (mezzo-soprano) performs in a wide range of styles and venues, from Purcell to
Pierrot Lunaire, Cherubino to The King & I, J. S. Bach to P. D. Q. Bach. She was featured in the
revival and tour of Phillip Glass’s Einstein on the Beach, performed at venues around the world
from 2011 to 2014, and she is currently singing the role of Belle in Glass’s La Belle et la Bête,
also on tour. She has performed with New York City Opera, The Wooster Group, OperaOmnia,
the Orpheus Chamber Orchestra, Israel Philharmonic, Orchestra of St. Luke’s, and the Waverly
Consort; and on the stages of Carnegie Hall, the Mann Center in Philadelphia, the Edinburgh
Festival, the Verbier Festival, and London’s West End and Grimeborn Festival. She has premiered
new works by Amy Beth Kirsten, Tarik O’Regan, Stefan Weisman, Du Yun, Conrad Cummings, Yoav Gal, and Matthew
Schickele. In April 2016, as an Artist in Residence at HERE Arts Center in New York City, Hai-Ting developed and
premiered Science Fair: An Opera With Experiments, a staged show of science set to music.

4
 Michael Steinberger (tenor) was featured as soloist on the Clarion Choir’s new recording Passion
Week (Maximilian Steinberg), and in October 2016 joined the choir for their tour to Moscow, St.
Petersburg and London to give the Russian and British premieres. It went on to be nominated
for Best Choral Performance at 2017’s Grammy awards. Other recent recording credits include:
Four Quarters of Jerusalem, a recording by the Cathedral Choir of St. John the Divine under the
direction of Kent Tritle (2015); Requiem for the Innocent (Contemporary Choral Works, Vol. 1)
with the NY Virtuoso Singers; Bobby McFerrin’s VOCAbuLarieS, which received three Grammy
nominations in 2011; and Pomerium’s Music for the Tudor Queens (2015). Michael and Pomerium
just completed work on their next recording, Musical Games, Puzzles, and Riddles of the Renais-
sance in February, which features Michael in several quartets and trios in addition to the full ensemble pieces. Well
known to New York area audiences, Michael’s appearances run the gamut from preeminent early music ensembles like
The Waverly Consort, New York Collegium, Artek, and Pomerium to features in modern masterpieces like Arvo Pärt’s
haunting Stabat Mater with Musica Sacra (a work he reprised at the Cathedral of St. John the Divine on Good Friday),
and Kurt Weill’s The Seven Deadly Sins with Audra McDonald and the New York Philharmonic. Other collaborations
of note include Voices of Ascension, Hudson Shad, Anonymous 4, Lionheart, Amor Artis, Toby Twining Music, and
The Western Wind Vocal Ensemble.

Steven Moore (baritone) is at home on the concert stage as well as the musical theatre stage
having performed leading roles throughout the USA, Canada, and Europe. In London, Steven
appeared as Randy Curtis in the Royal National Theatre production of Kurt Weill’s Lady in the
Dark (directed by Francesca Zambello) and he can be heard on the original cast recording. He
was the Phantom in the Maury Yeston/Arthur Kopit Phantom in Germany. In recent years, he
has played the role of Emile de Becque in several productions of South Pacific. Recent opera
productions include Le Grand Macabre with the New York Philharmonic Orchestra; The Grapes
of Wrath at Carnegie Hall; and Les Huguenots, Der Ferne Klang, Die Liebe der Danae and Le
Roi Malgre Lui at Bard Summerscape. Mr. Moore has been a soloist with the American Classical
Orchestra, Omni Ensemble, Musica Viva, New York Virtuoso Singers, American Symphony Orchestra, Musica
Sacra, and New York Concert Singers. He also appears regularly with New York Choral Artists and the New York
Concert Chorale.

Martin Rowe (words) is Tim Cramer (sound design/

the author of several works, production) is a composer,
including The Elephants in cinematographer, architect,
the Room: An Excava- and exhibit and media
tion, a memoir of his time designer. He has staged
with Wangari Maathai. The exhibitions (including “Hello
co-founder of Lantern Books, Japan,” a traveling children’s
Martin is also co-vice president of the Culture exhibit for the Children’s Museum of Manhattan), and
& Animals Foundation (CAF). Martin published at Geffen Hall, the Museum of the City of New-York,
Maathai’s first book (The Green Belt Movement) in and other venues. He has been an adjunct professor
the U.S. He and his partner, Mia MacDonald, worked in digital sound at The Cooper Union. Tim’s work
with Maathai on her autobiography (Unbowed) and encompasses sound design and mixing, dialogue
two subsequent titles: The Challenge for Africa and editing, and film and audio recording and post-
Replenishing the Earth. Martin lives and works in production. Tim divides his time between upstate
Brooklyn, New York. New York and Manhattan.

5
Support Education at the Juba Synopsis: And the Hummingbird Says . . .
Diocesan Model Secondary
School, South Sudan
1: Earth—Kirinyaga
Wangari Maathai was educated in
Mixing English, Kiswahili (Kenya’s national language), and Kikuyu
religious schools and credited the
(Maathai’s native tongue), “Earth” explores the cultural, spiritual,
nuns who taught her with affirming
and social fragmentation that followed when Christianity and
her own culture’s values of service and
colonization arrived in East Africa. Voices plead for rain from Mt.
love of the earth, as well as her passion
Kenya (known to Kikuyus as Kirinyaga, or Place of Brightness) and
for learning and science. To continue
from God. A Kiswahili hymn is interwoven with a British propa-
Maathai’s legacy, we’re committing
ganda film, Maathai’s own rendition of the hymn, and thoughts on
a portion of the revenues of
how a people strayed from the earth that gave them life, and the
Hummingbird to sponsor scholarships
subsequent loss of culture and animals.
in South Sudan, currently experiencing
civil war and famine.
2: Water—A Tree of God
“Water” uses two stories from Maathai’s life: how as a child she
The Juba Diocesan Model Secondary
played in a stream that dried up when a sacred fig tree was cut
School (JDMSS) opened in 2007 with
down; and her sadness at the felling of a 200-year-old sapele in
80 students. Today, there are 800,
front of her. She recalls the water and growth cycles of the natural
half of them girls. The school provides
world and her own place within the stream of time.
girls with a safe environment and
equal opportunities, and exam results
3: Fire—And the Hummingbird Says
show boys and girls getting equally
One of Maathai’s favorite stories is of a hummingbird who tries to
outstanding results. The girls’ boarding
put out a forest fire using only the water she can carry in her beak,
house is full, with a waiting list.
while the larger animals are fearful and mock her, telling her she’s
Maathai visited Juba in 2008.
too small and ineffective. She replies, “I’m doing what I can.” The
song sets Maathai’s retelling of the fable amid voices of fear of, or
Wangari Maathai worked to empower
opposition or indifference to, climate change.
women to take leadership roles at every
level of society. It costs only $700 to
4: Wind—Three Sorrows
educate a child at JDMSS for four years.
“Wind” focuses on the burdens women carry and their struggles to
By supporting JDMSS you provide an
confront men in power. It draws its inspiration from the protests
opportunity for these young people to
by mothers of political prisoners in Kenya that Maathai joined,
become leaders based on the values
and other demonstrations in which women stripped naked. The
that Maathai cherished. We hope you
song reflects the misogyny Maathai experienced, and that all
will offer your support.
women are subject to every day.

To support JDMSS in the United

5: Void—Dark Matter
States, make a check payable to
Maathai chose to be cremated in a coffin of hyacinth (an invasive
Brighter Green, 165 Court Street #171,
species), papyrus, and bamboo (both renewable resources), rather
Brooklyn, NY 11201.
than wood. “Void” explores the life-giving properties of womb-like
soil and the cosmic material that is most of the known universe.
www.facebook.com/jubadmss
Reflecting on how we as individuals, as a species, or conscious life
UK Supporters: jdmss.co.uk w
can make a difference, the song rests in the ambiguities of sunyata,
or “void”—wisdom from emptiness; emptiness from wisdom. w

6
 Libretto: And the Hummingbird Says . . .

1: EARTH—KIRINYAGA This place is changed,

No longer earth,
Kirinyaga. Place of Brightness: The country empty before us.
Whose sacred slopes no shoes could tread upon; A string that keeps sounding,
Shrouded in mist, you shyly hid your face from us. Broken within us.
“God does not live on the mountain.
God lives in heaven.” “What is your name?
What is your true name?”
Kirinyaga,
We felled your trees, Kirinyaga. Place of Brightness:
Slipped silt into your streams. Let your veil descend.
Sliced curves of turf over the open lips of gullies. Clothe your naked slopes in green.
Stained tears into your skin; And send us rain.
Now you turn your face from us.
Echoes of elephant cries,
Hakuna mungu kama yeye A rhino horn still warm,
(No God like Him, not like Him) Wander like the last cheetah on Earth.
Hakuna upendo kama wake
(No strength like His, not like His) “Where are you, Lord?”
Hakuna nguvu kama zake
(No love like His, not like His)
2: WATER—A TREE OF GOD
Nime tembea kote, kote
(I walked and walked all over.) Taste
Nime zunguka kote, kote Of the fresh mountain water.
(I turned and turned all over.) Frogs’ eggs
Nime tafuta kote, kote Slip through fingers,
(I searched and searched all over.) Dipping into the spring.
Bwana, ambopo ni wewe? Her roots dive deep and hold:
(Where are you, Lord?) Her memories, her land,
Hakuna hata kuwepo? Herself.
(There is no one like Him.)
“A tree of God,”
We are no longer what we were. My mother used to say.
We have forgotten what we knew. “We don’t use it, we don’t cut it, we don’t burn it.”
We do not know who we are now.
We once knew where God was; but now He is not there. Two hundred years:
We’ve lost what we never thought we had. Through the storm, the flood, the drought;
We’ve gained what we did not think we’d need. Breathing, always breathing;
We gave away what was not ours to give, Open each flower;
And took what was not ours. Unfurl each spray of green;
House the lick and flick of tongue;

7
Let a wing fling itself We plumb the wells. We birth the baby.
Into the shadows of an endless wood. We knead the dough. We breastfeed the infant.
We mill the grain. We teach the first word.
Frail. We cook the meals. We sing for the child.
Frayed. Flayed. Flailed. We compost scraps. We braid the hair.
Fail. Felled. Fall. Falling. Fallen. Floored. We scrub the pots. We pinch the cheek.
We wash the dishes. We hug and we kiss.
Frogs’ eggs, vanished. We clean the toilets. We manage the household.
The riverbed, dry. We sweep the floors. We pay the bills.
A withered trunk. A stump. We wring the clothes. We knit the family.
My memories, my home, myself, gone. We air the linens. We calm the rages.
“Don’t cry, Wangari. We fold the sheets. We salve the wounds.
There are millions of other trees.” We mend the seams. We nurse the sick.
We weave the baskets. We attend the dying.
A seedling in the palm. We tweeze the wire. We mourn the dead.
A root, moist. A shoot. A life. We do this. We do that. All day, all night.

Hope. We lament for our sons.

We long for those who died in war.
Wind and sun. We cry for those who are held in prison.
Clouds rise up the mountains. We reach for the heavens and plea for mercy.
Rain seeps into the ever-grateful soil. We chain our arms, stand in silence without food.
Streams belly up from a swollen earth, We lift our voices, speak our minds, blink away tears.
Slide through green hills. We hold our ground, confront power, demand the truth.
We resist: the hand on our thigh, our throat, over our mouth.
Sea, sun, wind, cloud, rain, soil, stream, sea. We persist: against your threats, your scorn, your guns.
Root, tree, breath, shoot, hope. We insist on a heart that is open.
We want to be heard.
Many saw this river before me. We want justice.
Many will see it after me.
I may not see it again, but the river will flow. We are mothers.
The river will flow. We are daughters. We are sisters.
We are wives. We are widows. We are mistresses.
We are what you desired us to be.
3: FIRE—AND THE HUMMINGBIRD SAYS
“Be ladylike.
A story of a hummingbird told by Wangari Maathai Be charming.
Be caring.
Be affectionate.
4: WIND—THREE SORROWS Be obedient.
Don’t act too smart.
We till the ground. We harvest fruits. Don’t have an opinion.
We fetch the water. We churn the milk. Don’t age. Stay young forever . . .
We gather wood. We load the mules. And smile.”
We plant seedlings. We go to market.
We grow vegetables. We carry groceries.

8
Three Sorrows of Women, Beyond our grasp
Our grandmothers called it. Is Darkness so dense it embraces all:
The day of circumcision, All wind, all water, all fire.
the night of our wedding, All that was and is.
and the birth of a baby. All that will ever be and never be.
Before us
“Do not mess with this body.” And after us.
With and without us.
This is us, this is our body.
This is where you came from, Coming and going.
Where it all began. Leave no trace.
Follow no path.
We will not be broken.
We will not be silenced. We rise.
We will not stop till we are heard. We walk. w
We will remain unbowed.

“Do not mess with this body.”

Thank You
Take everything we have. Mihoko and Martin would like to thank
Rain down your blows. the following for making the recording and
Rile up the crowd. performance of And the Hummingbird Says . . .
Pour hate upon us. possible: NewMusicUSA and The Cheswatyr
We will remain unbowed. Foundation; Diana Cohn and Anna Lappé at Panta
Rhea; the Lower Manhattan Cultural Council;
the Shelley Pinz Professional Development
5: VOID—DARK MATTER Grant for New York Fine Arts (NYFA) Affiliated
Composers; and Mia MacDonald and Brighter
Hyacinth for sorrow. Green. Gratitude also to: Christine Sarkissian and
Papyrus for endurance. The Cooper Union for the use of the Great Hall
Bamboo for she who bent for the recording; Jai Jeffryes for allowing us to
Yet would not break. use his recitals to workshop an early version of
Accept these woven threads of dedication. “Kirinyaga”; the Culture & Animals Foundation
and Compassion Arts Festival, as well as all the
Purify team at Symphony Space, for the opportunity to
This bone-house in the flame: present the work; and to all who contributed to
Flesh and skin, the crowdfunding campaign. Mihoko and Martin
Hair and teeth, would like to give a special thanks to Tim Cramer
Recompose for all his support, enthusiasm, and expertise. w
Within the dark matter of soil.
Let cells divide,
Photo Credits (pp. 3–10)
Multiply,
And bring forth life. Hai-Ting Chinn: Austin Hughes, Kate Milford—Timothy Cramer:
Timothy Cramer—Elaine Lachica: Kevin Blumenthal—Wangari
Maathai: (p. 3) Brigitte Lacombe; (p. 10) Martin Rowe—Steven Moore:
In emptiness is wisdom. Joshua South Photography—Martin Rowe: Martin Rowe—Mihoko
In wisdom, emptiness. Suzuki: Mick Cantarella—Michael Steinberger: Michael Steinberger

9
 Wangari Maathai For More Information
(1940–2011)
The Artists
Wangari Maathai was born Hai-Ting Chinn (mezzo): hai-ting.com
in the Central Highlands Tim Cramer (sound/production):
of British Kenya. She newmusicusa.org/profile/timmy-c
was educated in religious Elaine Lachica (soprano): elainelachica.com
schools in Kenya, received Steven Moore (baritone): bach-cantatas.com/Bio/
a bachelor’s and master’s Moore-Steven.htm
degrees in science from U.S. universities, and became Martin Rowe (librettist): https://martin-rowe.com
the first woman in East and Central Africa to be
Michael Steinberger (tenor):
awarded a Ph.D., from the University of Nairobi, at
amorartis.org/soloists
which she subsequently taught. In 1977, she founded
Mihoko Suzuki (composer):
the Green Belt Movement, a grassroots, women-
http://mihosuzu.wixsite.com/music
oriented, tree-planting organization established to
confront deforestation, desertification, soil loss, and Music
food insecurity among rural communities. And the Hummingbird Says . . . is available
from www.indiegogo.com/projects/
Maathai’s efforts to raise awareness about the poor and-the-hummingbird-says-africa/x/229472
governance and land-grabbing that contributed Ode to Number 14: amazon.com/
to environmental degradation brought her to the Innova-Ode-to-Number-14/dp/B017ALJ2U0
attention of the government, then under one-party Preposterous Pomes and Dotty Ditties by Martin Rowe
rule. In her campaigns to protect public space, free
and Tim Cramer: https://store.cdbaby.com/cd/
political prisoners, and to stop politicized communal
martim
violence, she was vilified, beaten, jailed, and received
death threats. In 2002, she was elected to parliament Wangari Maathai
under a new government, and served as an assistant
The Challenge for Africa (Vintage, 2008)
minister. In 2004, she was awarded the Nobel Peace
Green Belt Movement International:
Prize for her commitment to peace, democratic rights,
greenbeltmovement.org
and the environment—the first African woman
Replenishing the Earth: Spiritual Values for Healing
and first environmentalist to be so honored. Until
Ourselves and the World (Doubleday Image, 2010)
her death, she worked tirelessly for environmental
Taking Root: The Vision of Wangari Maathai (dir. Lisa
protection, social justice, and equity.
Merton and Alan Dater): http://takingrootfilm.com
Unbowed: A Memoir (Knopf, 2006)
Wangari Maathai felt a strong connection to Japan.
Following a visit to that country in 2005, she was Wangari Maathai: Visionary, Environmental Leader,
inspired by the concept of mottainai—roughly the Political Activist by Namulundah Florence
equivalent of “do not waste”—to initiate campaigns (Lantern, 2014)
in Japan, Kenya, and elsewhere to highlight how our Wangari Maathai Foundation: wangarimaathai.org
cultures have become mindlessly consumptive and
throwaway. Mihoko was touched by this revival of an The Supporters
ideal that had gone out of fashion in her native Japan Brighter Green: brightergreen.org
and began to follow Maathai’s work. Mihoko adapted Lower Manhattan Cultural Council: http://lmcc.net
her musical version of Alice Walker’s poem “We Have New York Foundation for the Arts: nyfa.org
a Beautiful Mother” for Maathai’s memorial ceremony New Music USA: newmusicusa.org
in New York City, in November 2011. w Panta Rhea Foundation: pantarhea.org
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Compassion Arts & Culture and Animals Festival

Saturday, October 21—Evening

Tom Regan: A Life
Dale Jamieson 7:40 pm

Dale Jamieson, Professor of Environmental Studies and Philosophy, Affiliated Professor of

Law, and Director of the Animal Studies Initiative, at New York University, reflects on the
legacy of Tom Regan, author of The Case for Animal Rights, as a philosopher and supporter
of the arts. Dale is an author of many books, including a short-story collection Love in the
Anthropocene, co-authored with Bonnie Nadzam (O/R Books 2015), which explores climate
change, the natural world, and relationships between humans and other animals.
as.nyu.edu/faculty/dale-jamieson.html

Reflections on Beasts of Burden

Jane O’Hara, Joy Askew, and Gretchen Primack 8:00 pm

Animals have played an important yet complex role in our lives. Humans have hunted and
bred animals for food, feared them as predators, revered them as spiritual beings, enlisted
them as laborers, sacrificed them in scientific experiments, and prized them as pampered
pets. With their innate curiosity and unselfconscious joy in life, animals can be enlisted to
fill the void in our lives where human interaction and connection to nature are inhibited.
Their beauty and otherness have inspired multiple reactions—pure appreciation, and the
desire to own them, mold them, steal their horns and hides, and train them to entertain
us. In this multimedia presentation, Jane O’Hara presents her paintings that hold these
contradictions, collectively known as Beasts of Burden, accompanied by the music of
Joy Askew and the poems of Gretchen Primack.

Jane O’Hara (top) has mounted solo exhibitions at the South Rotunda Gallery, Hynes
Convention Center, Boston and Gallery 55 in Natick, MA. In 2014, O’Hara curated
the exhibit Beasts of Burden in Boston where she joined 12 artists using the animal as
subject. She divides her time between Rhode Island and Florida. janeohara.com

Joy Askew (center) is a musician, singer, composer, and animal lover. Her songs have been
featured in movies, most notably Peaceable Kingdom: The Journey Home, and she recently
released her latest album, Queen Victoria. joyaskew.com

Gretchen Primack (bottom) is a poet, editor, and teacher living in the Hudson Valley. She’s
the author of two poetry collections, Kind (Post Traumatic Press 2013) and Doris’ Red Spaces (Mayapple 2014),
and a chapbook, The Slow Creaking of Planets (Finishing Line 2007). gretchenprimack.com

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Compassion Arts & Culture and Animals Festival

Saturday, October 21—Evening

Captive
Jo-Anne McArthur and Martin Rowe 9:15 pm

In recent years, the role of zoos and aquaria as centers for conservation, education, and entertainment has been
placed under scrutiny. From the controversy surrounding the confinement of orcas at SeaWorld to the killing
of Harambe the gorilla at the Cincinnati Zoo, questions have been asked about the place, if any, of zoos and
aquaria in a world where so many animals need resources and protection in the wild and many other means of
learning about the natural world exist. For more than a decade, Canadian photojournalist Jo-Anne McArthur
has turned her forensic and sympathetic camera on those animals whom we’ve placed in zoos and we animals
who look at them. Jo-Anne’s aim is to invite us to reflect on how we observe or ignore one another through the
bars, across the moat, or on either side of the glass. In this discussion with publisher and writer Martin Rowe,
Jo-Anne explores the world of captivity, based on the photos taken for her latest book, Captive (Lantern 2017), to
challenge our preconceptions about zoos and aquaria, animal welfare, and just what or who it is we think we see
when we face the animal. The presentation will be followed by a booksigning.

Jo-Anne McArthur is an award-winning photojournalist, author, and educator, who’s

been documenting the plight of animals on all seven continents for over a decade. Her
internationally celebrated archive, We Animals, has enabled over one hundred animal
organizations to benefit from her photography. Jo-Anne’s work has been featured in
many books and publications, such as National Geographic, Elle Canada, Canadian
Geographic, DAYS Japan, Helsingin Sanomat,
Photolife, PDN Online, Huffington Post, Earth
Island Journal, Point of View, Alternatives
Journal, and Canadian Dimension. Jo-Anne is
the subject of Canadian film maker Liz Marshall’s acclaimed documentary
The Ghosts In Our Machine (www.theghostsinourmachine.com) and her
first book, also entitled We Animals, was published by Lantern Books in
2013. A four-time grantee of the Culture & Animals Foundation, Jo-Anne
recently joined CAF’s board. She lives in Toronto, Canada. weanimals.org

Martin Rowe is the publisher of Captive and We Animals, as well as The

Art of the Animal and An Art for the Other. He is also the author of The
Polar Bear in the Zoo: A Reflection (Lantern 2013), which is a meditation
on Jo-Anne McArthur’s photo of Kunik the polar bear in the Toronto Zoo
in 2006 (see left). He lives in Brooklyn, New York.

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Compassion Arts & Culture and Animals Festival

Sunday, October 22—Afternoon

The Music of Michael Harren 1:45 pm
Composer, activist, and CAF grantee Michael Harren performs his music on piano and
electronics with his all-vegan string quartet in a program that moves us to look more
deeply at our relationships with other animals. The performance features the premiere of
new works inspired by his recent tour, which included animal sanctuaries on the West
Coast, and shares selections from his multimedia theatre piece The Animal Show, written
during his residency at Tamerlaine Farm Animal Sanctuary in Montague, New Jersey.
Michael’s distinctive artistry leads the audience on a journey that opens the heart and mind
to thinking differently about all kinds of animals and ourselves. This performance features
Brian Ford and Brian Thompson (violins), Karen Waltuch (viola), and Anastasia Golen-
ishcheva (cello).

Michael has toured as pianist with Sandra Bernhard, is the musical director for Cabaret for a Cause, and has
performed at Dixon Place, (le) poisson rouge, Joe’s Pub, Judson Memorial Church, Manhattan Theater Source,
The Duplex, Don’t Tell Mama, The Laurie Beechman Theater as well as numerous venues around the country.
michaelharren.com

Kedi (dir. Ceyda Torun, 2016)

Followed by discussion with Ayten Alkan and Yanoula Athanassakis 3:15 pm

The festival is delighted to show the documentary film Kedi, about the lives of street cats
in Istanbul. After the film, Ayten Alkan, a Turkish academic, 2017 CAF grantee, and
expert on the stray dogs of that city, talks with Yanoula Athanassakis, cofounder of the
NYU Environmental Humanities Series, about the challenges of academic freedom in an
authoritarian political environment, the “problem” and politics of “stray” dogs and cats in
Turkey and Greece, and the literal and metaphorical privatizing of public (green) space.

Ayten Alkan (left) is a political scientist who has conducted

extensive research on the history and lives of dogs in Istanbul,
Turkey. In September 2017, she joined the Institute for
Advanced Study at Princeton University. Yanoula Athanassakis
(right) is Assistant Vice Provost for Academic Affairs at New
York University, and Instructor in Comparative Literature and
Environmental Studies. Her research and teaching interests
include the environmental humanities, animal studies, gender studies, and environmental
justice. She is the author of Environmental Justice in Contemporary U.S. Narratives
(Routledge 2017). yanoulaathanassakis.com
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Compassion Arts & Culture and Animals Festival

Sunday, October 22—Evening

Sanctuary
A Radio Play by John Yunker 7:30 pm

The Festival is delighted to present a live recording of a new radio play by John Yunker, for the award-winning
Our Hen House, the podcast cohosted by CAF grantees Mariann Sullivan and Jasmin Singer.
The synopsis: Richard and Lisa have retired early to a small town. Lisa, a new vegan, offers
their guest studio to her new animal-activist friend Meg and decides to celebrate Thanksgiving
sans turkey. Richard, in the hopes of forcing Lisa to capitulate, invites their exterminator
Charley to Thanksgiving dinner. The resulting tensions soon push relationships over the edge.
ourhenhouse.org

John Frusciante (Richard) graduated in Theater Studies from Montclair State University and
served as the Artistic Associate of the Upright Citizens Brigade Theatre. In 2015, he toured the
United States as the star of the one-man show “Men Are From Mars, Women Are From Venus
Live!” based on the book. twitter.com/johnjfrusciante

Michael Harren’s (Charley) biography can be found on the previous page.

Eric Milano (Narrator) is an Emmy Award–nominated sound designer and voice-over artist
based in New York City. He works out of Love Loft Studio, where the films and television he has
done have won or been nominated for Oscars, Emmys, Golden Globes, Independent Spirits, and
a Peabody. twitter.com/ez1e

Jasmin Singer (Meg) is the author of the memoir Always Too Much and Never Enough and
Senior Editor of VegNews Magazine. In addition to being the co-host and co-founder of Our Hen
House, Jasmin was named a “40 Under 40” by The Advocate, and recently debuted her Tedx
talk, Compassion Unlocks Identity. jasminsinger.com

Mariann Sullivan (Lisa) is a lawyer and Lecturer in Law at Columbia Law School, who has
served on the board of Farm Sanctuary, and currently serves on the board of Animal Welfare
Trust and Animal Welfare Advocacy. She is cohost (with Jasmin Singer) of the Our Hen House
podcast, and host of the Animal Law Podcast. law.columbia.edu/faculty/mariann-sullivan

John Yunker (author) is a writer of plays, short stories, and novels focused on human/animal
relationships. He is the editor of the anthology Among Animals: The Lives of Animals and
Humans in Contemporary Short Fiction, and co-founder of Ashland Creek Press, an independent
press devoted to environmental and animal rights literature. johnyunker.com

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Compassion Arts & Culture and Animals Festival

Sunday, October 22—Evening

The Journeys of Abu’l Abbas and Al-Hindi
Radhika Subramaniam 9:00 pm

Radhika Subramaniam reconstructs the story of Abu’l Abbas,

the Asian elephant given to Emperor
Charles the Great by Caliph Harun al-
Rashid in the ninth century, and the
mahout who probably accompanied him.
Following, occasionally quite literally,
in the footsteps of Abu’l Abbas, Radhika
traces the profound complexities of the
relationship between human and animal,
the Indian Ocean and the Mediterranean,
and the experiences of migration that this
elephant’s journey reveals as well as the challenge of telling stories
across species.

Radhika Subramaniam is a curator, editor, and writer with

an interdisciplinary practice that deploys such platforms as
exhibitions, texts, and public art interventions as conscious
forms of knowledge-making. She’s interested in the poetics
Kuja. Photo: Radhika Subramaniam and politics of crises and surprises, particularly urban crowds,
cultures of catastrophe, and human–animal relationships. The
Director/Chief Curator of the Sheila C. Johnson Design Center (SJDC) at The New School, she teaches in the
School of Art and Design History and Theory at Parsons School of Design in New York City. She is presently
working on an experimental narrative nonfiction titled The Elephant’s I. newschool.edu/parsons/faculty/
Radhika-Subramaniam/

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Compassion Arts & Culture and Animals Festival

Sunday, October 22—Evening

Food Chain Re-imagined
Donald Vincent and Ellie Sarty 10:00 pm

Compassion Arts closes the Festival events with a multi-arts performance collage, featuring songs from founder/
director Ellie Sarty, with video, special guests, and a presentation of readings by educator and poet-activist,
Donald Vincent, founder of Mr. Hip Presents. This music-and-spoken-word narrative of transformation,
kinship, and mercy reflects on the intersections of our treatment of animals, Earth, and each other, through the
artistry of works by Mr. Hip, juxtaposed with a vegan chorus of singers and readers performing excerpts from
Food Chain Re-imagined, a Compassion Arts theater work in development.

Ellie Sarty is the founder of Compassion Arts. She is a past Culture & Animals Foundation–
grant recipient, a published songwriter with the late producer Phil Ramone, and a singer.
Her music has been featured in films and documentaries, and on her CDs Top of the Food
Chain and Constant As The Sun. She was a NYC-based performing artist for twenty years,
and among the first U.S. artists to perform in the former Soviet Union at the Concert for the
Children of Chernobyl. She has been devoted to animal rescue, animal advocacy, and humane
education outreach for three decades. She is the composer, lyricist, and author of Food Chain
Re-imagined, to be launched on stage and CD-release in October 2018.

Donald Vincent is an educator, poet-activist, spoken-word artist, and founder of Mr. Hip
Presents, a project that brings together creative artists for readings, poetry, “Conscious Rap,”
and other works, in combination with music performances by jazz and blues artists, at Boston
art galleries. A former freelance journalist for Boston newspapers, he was also the editor of an
online literary magazine Write From Wrong. He recently launched That’s So Vegan, a project
merging creativity and education on plant-based foods and products, with uplifting online
videos and partnerships for information on vegan living. Donald Vincent lectures and teaches
in Emerson College’s award-winning First-Year Writing Program.

About the Culture & Animals Foundation About Compassion Arts Festival

CAF is the only all-volunteer organization exclu- Compassion Arts Festival is an all-volunteer
sively dedicated to intellectual and artistic expres- creative arts education program held annually.
sion to raise awareness of animal rights. CAF The Compassion Arts Festival does not accept
accepts donations, and hopes you’ll consider donations but we welcome contributions in the
contributing to enable us to continue our work. form of sponsorship, services, volunteering, or
cultureandanimals.org being a presenter. compassionarts.org

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Compassion Arts & Culture and Animals Festival

Sunday, October 22—Evening

Mike Crehore is a music producer, guitarist, bassist, recording engineer,composer, former
co-founder of Dubway Studios, owner of Tilamy Publishing, and partner of SongCraft Pres-
ents. He brings his multitalented artistry to Food Chain Re-Imagined as the project’s music
director and band leader. Mike’s distinctive work in music spans more than thirty years and
features an expansive and diverse discography of recordings on CD, film, television, NPR, and
live production. He has collaborated in multiple music projects with Ellie Sarty since 1987.

Alfee Westgroves is a regularly featured guest on WCUW’s Vegan Nation, with Alfee’s Vegan
Parenting Tips. A singer, dancer, actor, and a vegan of sixteen years, she is the single mother of
two and a native Mississippian who now resides in Massachusetts. She works as a substance-
abuse counselor for women in recovery, and is currently creating, producing, and performing
a concert series in tribute to the music and stories of empowered women in popular culture
such as Beyoncé and Tina Turner. Alfee views singing as a gift—a gift she is honored to share.

Cindy Sarty is a passionate and devoted animal advocate, dedicated to the work of rabbit
rescue and the care of animals in crisis or with special needs for more than two decades. The
numerous animals she has cared for have been featured in books by veterinarians, journals,
and Tufts calendars. A vegetarian for almost forty years, she is also a gifted singer, who brings
her singular artistry to join in the workshop development of Food Chain.

Rachael Cobb is a pianist, singer-songwriter, and the Director of Music for Unity of Worcester.
She is a music teacher of both piano and voice, and is also a contributor to collaborative music
programs for trauma survivors of domestic violence. Her powerful voice and inspirational
songs can be heard on her CD I Am, We Are.

GUEST MUSICIANS – A very special thanks to our guest musicians Tate Overton on bass
and Jim Mussen on percussion, of “the balboans” band. For more information about them
and to hear their music, visit thebalboans.com. We also wish to thank Alexandra Jordan,
who is accompanying Donald Vincent on trumpet.

Photo Credits (pp. 13–21)

Ayten Alkan: Gazete DuvaR.—Yanoula Athanassakis: Brock Johnson—Jane O’Hara: Gedas Paskauskas—Joy Askew: Steph Woman—Michael
Harren: Diana Bezanski—Jo-Anne McArthur: Lesley Marino—Gretchen Primack: Deborah Degraffenreid—Jasmin Singer: Derek Goodwin—
Mariann Sullivan: Derek Goodwin—Radhika Subramaniam: Conway Liao—Ellie Sarty: Ellie Sarty—Donald Vincent: Donald Vincent—Mike
Crehore: Mike Crehore—Alfee Westgroves: Alfee Westgroves—Cindy Sarty: Cindy Sarty—Rachael Cobb: Rachael Cobb

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