Scientists are starting to take emotions seriously and study Grace: You can feel in your body that this is truth, that something real is happening right them in their laboratories, well... now, this isn’t just dance steps... that’s what we do every day in our studio. —Dorothy Jungels uarantee d— t second, g e stuff… till the las ur favorit g chan ges right o of s ome of yo be makin ng to let g : We’ll still ou have to be willi Edgar: It’s like a safe Rachael flexible. Y combination--there’s so you h ave to be many numbers you can enter. Aaron: Improv taps the un- conscious, I think that’s where We have to find the right the work comes from. It’s not combination, and there’s a like we’re thinking it through. million options, and I hope We’re thinking a lot and then we have enough time. I hope our unconscious does its own we get the right one. Two work, processing ideas and al- months is scary, insanely lowing them to come back out scary. I’m terrified... in surprising ways— Marvin: What’s behind the wall? Is it freedom, is it tears, is it joy, is it danger? Justine: Yeah, we should care about if the show is good and if we get accepted, but honestly I care more about how much this has changed me, and how much I’ve learned…Robert Jungels We meet in an empty room with nine people, a computer, a camera, a hard drive, and a pile of books on the brain. —Dorothy Jungels
Sokeo: Replace that memory with something else. Replace that horrible memory-- Ari: My favorite parts are when we start working on the gym, and we do cause and effect, and the movement and ate… the energy reminds me of watching video of a molecule that you have to cre and different atoms working together inside the brain… rsta nd the part st to be able to unde bunch of stuff ju a rch a whole dy and rese u have to stu Edgar: yoJustine Bevilacqua PROCESS
I’ve had the good for- tune to observe some of the creation of BRAIN STORM. Along the way, I learned some things about Everett’s process, some things about the brain, and some things about the relationship between them— Megan Tom Dooley What Does The BRAIN STORM Process Teach Us About The Brain?They Collect our intuition, insights, and most decisions (for which we try to find conscious The brain stores things and comes back to them later, in unexpected explanations later).”ways. In Everett’s creation process, their many hours of improvisation in re- —The Programmer’s Brains At Work: Understanding The Software Systemhearsal are captured on digital video. Rather than loosely basing an elementof the piece on an idea discovered in rehearsal, they return to the video of They Collaboratethe improvised dance or monologue and try to replicate it exactly. Relearn- Everett’s process relies on the expertise that each person has, and allows foring a sequence initially created through improvisation is intended to recap- the possibility that different people may be in charge at different moments,ture the originality and authenticity of that initial response. Once relearned, depending on what the moment calls for. If you walked into an Everettthese sequences are spliced and diced, moved from place to place, and rehearsal at five different moments, it’s likely you’d think five different peopleintegrated with text, video, music, and theatrical elements such as costumes were in charge. Edgar leads the group through an intricately choreographedand lights. dance sequence. Aaron instructs them on how to manipulate the scaffold- Many times, stories or sequences that have been workshopped intensive- ing more smoothly. Rachael guides the delivery of a monologue. Dorothyly never make it to the final iteration. Other times, someone will remember rewinds a video from yesterday’s rehearsal to point out a moment she’d likea moment in rehearsal several months prior that never seemed quite right to see again. Everett calls this “liquid leadership.” It turns out that the Brainbefore, but now provides the perfect missing piece. Rachael’s story about the works this way, too—it functions less as one coherent unit with a decisive di-birds is an example of this. It didn’t appear in the piece until the day before rector’s voice, but as a symphony of different cognitive tools, each existing inthe first performance! Until everything else was in place, it was difficult to relationship to the others, but lacking a central authority. A moment in BRAINsee how it would fit—but now, it’s impossible to imagine BRAIN STORM with- STORM that illustrates this is when the amygdala (played by Sokeo) and theout it. frontal lobe (played by Rachael) are having an argument. Parts of the brain, “Our automatic, unconscious and ultra-fast brain processes are much like people, don’t always agree with each other.more powerful than limited conscious controlled thinking. Unconscious pro- “The challenge is to each be who we are, and still be together.”cesses run in parallel and can handle many tasks at once. They are source of —Dorothy Jungels, Artistic Director, Everett
They Are Curious about the Mysterious and the Unknown Megan Sandberg-Zakian is a theater director, writer, and arts We now know more than we ever have before about how the brain consultant who has worked with Everett on strategic planning and works, and yet there is still so much more that we don’t know. Memory, website development projects. learning, aging, brain disorders, and more, remain largely mysterious even to the most advanced scientists. The creative process can also feel myst- erious, confusing, and chaotic. During the making of BRAIN STORM, there were many moments when something was being added or eliminated or reworked simply as an experiment, when the dancers needed to take a leap of faith and try something they didn’t fully understand. I never once heard them ask, “Why are we doing this?” Instead, they said that even when they didn’t know where the process was going, they trusted that it was going somewhere meaningful and interesting. In fact, the disorient- ation and chaos was necessary to arrive at the eventual discovery. Everett believes that if you know what you’re going to do ahead of time, why do it? It’s probably already been done. Everett’s artists aren’t trying to recreate Tom Dooley what is already known, they are trying to surprise themselves, to make new discoveries—just like scientists who study the brain, slowly revealing its strange, mysterious beauty. “There have been a lot of times in my life where I’ve just been casting about trying to figure out what’s the next step, what’s bothering me, whereStories Change Them to go… you keep struggling with it and eventually the structure of the Recurring throughout BRAIN STORM is the story of Angelo, a young man problem becomes clear, and then the path through it becomes clear, but allwho gets out of jail only to be shot at his welcome home party. When the of those moments of insight come from long periods of casting about andambulance fails to arrive, Angelo’s friends drive him to the hospital them- seeing all the pieces. You just have to be patient enough to wait for all theselves; in the backseat, Edgar holds his friend’s bleeding body and, trying to pieces to really fall together. You’ve got to be stubborn.”keep Angelo from slipping away, tells him stories of fun, carefree times, of —Eric Lander, biologist and mathematician, world leader offlirting with girls and hanging out in the neighborhood. Through stories, our the international Human Genome Projectbrains can step out of the present and travel somewhere else for a moment.Scientists believe that the stories we hear have the power to actually changeour brains physically and chemically. Grace said that, for her, creating thesection in BRAIN STORM where she curtsies and falls over and over remindsher of how important and how hard it is to silence your “inner critic.” Onceyou realize what a powerful effect our thoughts have on the way our brainswork, it becomes even more important to try to think positively. “Unfortunately, as a society, we do not teach our children that they needto tend carefully the garden of their minds. Without structure, censorship,or discipline, our thoughts run rampant on automatic. Because we have not Tom Dooleylearned how to more carefully manage what goes on inside our brains, weremain vulnerable to not only what other people think about us, but also toadvertising and/or political manipulation.” —Jill Bolte Taylor, My Stroke of Insight: A Brain Scientist’s Personal Journey
The Brain Café is a series of free presentations that create a dialogue at the intersection of neurosci- ence, medicine, and the arts. The Cafés bring to- gether scientists, artists, and community members to share their knowledge and experiences. We originally developed the series as a way to share the process of creating BRAIN STORM with the pub- lic. We quickly realized that the Brain Cafés were an important programming model in their own right. Now they are engaging public expositions that ac- company performances of BRAIN STORM on tour and at home, and they will become part of the menu of educational programs for young people that we de- velop out of BRAIN STORM. The series will also serve as a model we continue to use in the development of future works. One of the most satisfying things for us in develop- ing the Brain Cafés was that as word spread about what we were doing, community members started to come forward. A young woman with locked-in syndrome, a man with schizophrenia, a woman with Tourette Syndrome, and a woman with post- traumatic stress disorder shared their stories with audiences and shared the stage with scientists from several institutions. Scientists from Brown University and The Trauma Center at Justice Research Institute BRAIN CAFÉ in Boston were among those who presented rel- evant studies, explaining the neuroscience behind some of these disorders and the technologies being created to address them. Our company presented short performances inspired by the stories, includ-Owen Muir ing dance, theater, poetry, and music, and audience members engaged actively in the dialogue, sharing their own stories or expertise. These evenings of dialogue serve to inform the public about often difficult disorders and, through the shar- ing of human stories, scientific information, and creative arts, reduce the stigma associated with them.
MARGARET Nancy Worthen reached out to us to share her daughter Margaret’s story. Margaret suffered a stroke three days before her graduation from Smith College in 2006. Nancy faced major decisions when asked, “What do you think Margaret would really want?” and was told by some doctors Owen Muir “let her go, absolutely.” “I see many people looking at her with pity and with a certainty that the way she is now is the way she will remain. I have this crazy idea that she is listening and trying to speak— I’m embarrassed to say these things because I know they are not rational. When I hear from her nurse that Maggie is moving in time with the music I am sure that Maggie is having some sort of inner life. Her eyelids have fluttered and her mouth is moving in such a way that makes the doctor feel there are messages going through her brain stem to her brain. I wanted to tell you all what is in store for Maggie and me in New York City. She will have an MRI on Monday. She will get hooked up to an EEG machine as well as be in a room where she can be videotaped. On Tuesday she will have a PET scan done. On Wednesday she will have an FMRI, which is the test when they will have her listen to my voice and also will ask her to think about something physical that she likes to do and several other things, and they will see how her brain responds to those things and where, which will Owen Muir tell them if she hears and if she understands. The doctor asked her to move her eye down if she could see me. There were people all around the bed waiting for her to answer, and she moved her eye down, and I have to tell you that was the most amazing moment for everyone. People had tears in their eyes be-—March 2011 Brain Café cause that was the moment that I knew after eighteen months she really was there. I had toMargaret’s full story can be found at CaringBridge.com. tell everyone that my daughter saw me today.” —Nancy Worthen
SUTIEOwen Muir “I have a moderate case Sutie came to Providence “Wow, it’s a lot of work putting of Tourette Syndrome a production together: manag- (not cursing) and my for two weeks and col- ing performers, choreograph- videos right now are laborated with us on a short ing, directing, PR work, book- about using my tics (vo- performance of the history of ing, stressing, rehearsing, more cal and motor) as a sort Tourette Syndrome for a Brain stressing and on it goes as you of palette or language know very well. I finally feel that I compose and then Café. Sokeo and Edgar incor- like we are just about ready to edit into a rhythm or porated her tics into a hip hop give this a whirl! NPR came and beat. It’s pretty wild routine and talked about simi- interviewed us and we were on and experimental. Al- the radio this morning. Now that though it’s a challenge lar movements that already was great publicity. And I have to live with, I see my exist in hip hop, like popping, you to thank for so much of this disability as an op- krumping, and ticking. Sutie project’s momentum. You guys are portunity as well. Alan the ones who encouraged me to told me about the BRAIN was very open about her continue this work here in Philly STORM project you guys experience, so we were able to and I’m doing it. How awesome is are doing. He and I were explore it with her unselfcon- that? And your idea of blending imagining what it would neuroscience with art is bril- sciously, even laughing and Owen Muir Owen Muir or could look like to liant and has inspired the direc- have some of your danc- joking about the tics together. tion of my own piece Intersec- ers study and learn my At the Brain Café, Sutie talked tion: Tourette Syndrome where tics and choreograph performance, neuroscience and a small piece for the about how the tics begin to disability collide.” project. Tourette Syn- Sokeo demonstrates the stop when she is creating art Marvin plays Dr. Charcot in the —Sutie Madison drome is a neurological hip hop style krumping. or dancing because she is so Ballet de la Tourette. disorder directly relat- These movement resem- ing to the brain but the focused on another activity. ble some of the Tourette symptoms (tics, twitch- tics learned from Sutie. She advocated arts and sports es) come in a variety of as therapy for people with movement that affect the rest of me! So my ques- Tourette Syndrome. When tion is would you and Sutie returned home to Phila- your students be inter- delphia, she created a similar ested in using me and my Tourette’s as material performance and discussion. for your BRAIN STORM project?” —June 2011 Brain Café
Willoughby Meditation training works in a step- ([e.g.,] the sensations of breathing) over wise fashion, through two different and over again, builds the attention practices, Focused Awareness and Open muscle of the dlPFC. From the inside, this Monitoring or “insight.” In Buddhism, fo- translates into sharpening the focus ofWilloughby Britton is Professor of Psychiatry and Human cused awareness is called “Sharpening the your observing faculty and calming over-Behavior and Professor of Behavioral and Social Sciences, Axe.” Open Monitoring or insight is called active thinking and emotions.Brown University. “Cutting Delusion at its Root.” But this is not the ultimate goal, it is Sharpening the Axe is another way to only preparation for the next step: insight. say “strengthening the attention muscle In the second stage, “Open Monitor- of the dorsolateral prefrontal cortex ing,” the meditator takes this refined tool (dlPFC).” This brain area is responsible for of focused awareness and turns it in on directing and sustaining attention on a his own mind and experience. With this single object: Reading a book, listening newly clear vision, the meditator can now to a friend (or music), without getting see that the emotions that have been distracted by your own thoughts or inter- plaguing him are nothing more than pretations. passing thoughts (mental images, words) The prefrontal attention system is also and body sensations (pressure, tightness, responsible for controlling the emotion heat). and thinking systems, so when it is weak, As we get better at watching our thought and emotions explode out of minds, we eventually see something quite control. Many forms of psychopathology, shocking: that everything we took to be including anxiety, depression, addictions, our self is nothing more than fleeting con- and psychosis are due to poor regulation cepts and body sensations, and there is from a weak prefrontal cortex. no solid or permanent “thing” called a self Focused Awareness meditation, where that we have to defend, protect, or worry you bring your mind back to an object about being good enough.“I’m going to share with you something I learned about triggers—how to set up happy triggers for yourself—and M e c h a n i s m s o f M e d i t a t i o n it has to be really common. I have a happy trigger, and I don’t really tend to share it with people, but I’m going to let you know what it is. It’s birds! Every time I see a flock of birds fly by I say to myself, “Go Rachael! Go Rachael! Go Rachael!” I learned it from a therapist. And it’s funny because I probably set it up at least twenty years ago but still, every single time I see a flock of birds fly by I say to Tom Dooley Tom Dooley myself, “Go Rachael!” and at that moment I feel really happy, and it can trigger a little change in myself. So I wish there were birds in my house. I wish there were birds on my wall at night as I was going to sleep. They have to move though, and there has to be a lot of them.” —Rachael —March 2011 Brain Café
Justine Bevilacqua “Angelo was a special case, he had a lot of anger issues. We all knew he was In the process of creating BRAIN STORM,Tom Dooley one of the bad kids who always gets in company members shared personal trouble. stories of deep emotion. Edgar told this story about his friend Saturday night, we’re all partying Angelo. because it’s Monkey’s 18th birthday. Now every gang is in here, I’m talking about Bloods, Asians, Black, Spanish, every gang you can think of. We are all celebrating, not only because it’s Monkey’s birthday, but because Angelo just got out of jail. Six of us decided to go out back to smoke. There’s a lawn facing Pine Street. All of a sudden—pow pow pow—Angelo goes down. People go chasing after the people across the street, people running everywhere, people are screaming, girls are crying. I lifted up his head so he could breath. I asked him if he was okay, how’s he feeling, what’s wrong. Checked to see where he got shot. Right shoulder. Angelo is trying to laugh about the situation, really first day back and this happened. At the same time he’s spitting up blood. We grabbed Angelo from the legs and arms and carried him to the back seat. By now it’s already been 25 minutes since we’ve called the ambulance. I’m pissed. Angelo’s on my lap. I’m talking to him the whole way, to tell him about memories we had like buying sneakers, flirting with girls, going to the beach, crazy things just to keep him there with me. I thought the best thing to do was to tell him memories that would make him laugh... like in movies when people are trying to act calm but tears are coming down their face... I didn’t want to tell the story [in BRAIN STORM] because that would be a little too emotional for me. But it turns out that Sokeo tells the story, and I do the movement. Every time I do the movement it brings me back to that day. And if you actually see me do [it] you can see on my face the different emotions I felt that day, like when he actually got shot, ANGELO when we carried him away, when we put him in the car, talked about memories. You can see all the different emotions I went through every time I do it.” —Edgar Justine Bevilacqua
Stories like Angelo’s sparked our interest in the connec-tion between neuroscience and social justice. Mark Gap-en from the Trauma Center, who presented for our BrainCafé on PTSD remarked that there is more post-traumaticstress in the young people growing up in poverty in ourcities than in veterans returning from war. He also statedthat the prisons are filled with people with undiagnosedmental illnesses often directly related to untreated trau-ma. Angelo represented so many young people thatwe’ve met over the years who have been put in the ‘badkids’ corner since they were little. Tom Dooley
“When I had my breakdown the first voices I heard was like people using the intercom system to make fun of me. Jeez it’s so hard. And I quit my job. I would stay home washing the floors. So I started walking, and I didn’t stop until I was way out of town, and I would hitch across the nation. Met a lot of interest- ing people. And I slept in Salvation Army’s and missions and I’ve heard girls sing and saxophonists play their saxophones and there was this beautiful guitarist playing guitar. And I just had so much fun and it was very cold weather because it was winter and I love winter—FREEZING. I used to argue with voices, wanting to play guitar. And some- JOEL times they put a thought in my head and I couldn’t touch the guitar. And this happened for ten years, and I kept arguing and I...I was a little brat but I wasn’t getting my toy. Then about ten years later when I was 35 I got to play my guitar, and I thought it was such a beautiful miracle that after all that time that I would get a chance to be at one with my guitar.” My cousin Joel was struck by schizo- phrenia when he was sixteen. This was devastating for his family. Joel was the oldest son with three young- er brothers who worshipped him as a guitar hero. Joel knew from a young age that he wanted to be a musician, and he diligently practiced his guitar for hours every day. One of the hard- est things for Joel about the voices was that they would not let him play his guitar. As time passed I began to forget the young man Joel had been and became accustomed to the wild- eyed man who lived in the basement of my Aunt Barbara’s house. The in- terviews for BRAIN STORM were the first time I heard from Joel himself what his experience of schizophreniaTom Dooley was like. —Aaron Jungels Everett Co-Artistic Director
RICHARD “I’ve sat on a horse and looked up at the pyramids. I’ve stood at the top of the World Trade Center as it swayed back and forth. I was a reporter for a while. I lived in Manhattan and wrote junk mail… that was fun. The nice thing about that is I can sit here not being able to walk, and think back and realize I’ve done some really interesting things and that I’ve been lucky to do that stuff. And so I don’t really feel like I’ve been ripped off of life experiences. I was born with this thing called arteriovenous malformation, which means I had no capillaries in part of my brain. Because of that malfor- mation I had a massive brain hemorrhage, which I was very lucky to survive. So, I ultimately am not as upset about what happened to me as some people might be because I’ve known for years [that it might happen], and I knew there was a good chance that it would kill me. You know, I can’t remember getting up this morning so that gives you a funny perspective on life. I remember the people here, but I don’t re- member what I did yesterday. It’s funny, a real jerk that I knew in college I think said to me one time, “you gotta love your fate,” and every day I repeat to myself, “you gotta love your fate.” That’s a funny irony, and I love irony so. You know, a lot of the things that meant a lot to me were things that took place in the mind. Intellectually I’m fairly intact, and so I’m very relieved and happy on the whole.” Crotched Mountain, in Greenfield, New Hampshire, is a hospital and rehabilitation center for people with brain injuries, and a school for stu- dents with disabilities. As part of our research for BRAIN STORM we did a two-year residency at Crotched Mountain, leading theater and movement workshops with resi- dents in the school and Brain Injury Center. We met Richard during our residency and were captivated byTom Dooley his story of surviving a massive brain hemorrhage and by his outlook on life in the aftermath of his injury.
Tom Dooley“The garden of neurology offers the investigator captivating spectacles and incomparable artistic emotions.In it, my aesthetic instincts were at last full satisfied. Like the entomologist hunting for brightly colored butterflies, my attention was drawn to the flowergarden of the gray matter that contained cells with delicate and elegant forms, the mysterious butterflies of the soul, the beating of whose wings maysome day (who knows?) clarify the secret of mental life…Even from the aesthetic point of view, the nervous tissue contains the most charming attractions. In our parks is there any tree more elegant and luxuri-ous than the Purkinje cell from the cerebellum or the psychic cell, that is the famous cerebral pyramid?” —Santiago Ramón y Cajal, 1894, known as the father of modern neuroscience
“I am always self-conscious when de- who can take on and experience their pa- Tonight is...scribing anything I do creatively with either tients’ feelings. So tonight it is the even day ormy writing (I write short stories and poetry) So I will try a brief explanation of the fol- odd day I don’t remember ...or art. lowing poem: This was a patient of mine who I just know I am supposed to My usual day as a neurologist is spent was a gifted athlete. He was diagnosed with give myself the injection ... sotrying to support patients who have hor- a neurological disorder. A lot of his sense of is this how it all ends up givingrible diseases such as Amyotrophic Lateral self was based on his athletic prowess. With- yourself some sort of medica-Sclerosis (Lou Gehrig’s disease) where there is out fail he would run in Central Park twice a tion ... I am sure no one knowsno hope, no cure, and inevitable death. After day; he especially enjoyed the uphill portion exactly what the long term ef-I make the diagnosis of ALS the majority of near 110th Street. As his illness progressed fects are ... I heard the ad on TVpatients usually die within three years. My he was no longer able to run his Central Park while I ate the take out dinner:art is a way for me to cope with all the sad- route. He had to inject himself ever other day the announcer gravely intonedness and fear I take on each day. As I tell my with a medication in an attempt to control in a very soft and pleasantmedical students and resident physicians, his illness. This poem tries to convey his sad- voice: “risk of infection anemiaI feel the best physicians are the individuals ness and my sadness for his loss.” diarrhea malignancy” ... I pull up the clear solution in the Jeff syringe ... it looks harmless ... and wait ... my left leg has a purple spot ... my right leg has a red spot ... I wait for a divine Jeffrey Cohen, MD is a sign ... nothing happens ... the professor of Neurology floor fan drones on ... I start to at Dartmouth Medical cry I am not sure why ... maybe School and the Associ- it is for all of the lost opportu- ate Chief of Neurology nities in my life: the past life at Dartmouth-Hitch- of running in central park, the cock Medical Center. skiing, the absence of pain, the missed meetings ... the needle We met Dr. Cohen barely hurts as I push it deeply when we presented into the skin ... the clarity of BRAIN STORM at this act somehow seems ok Hopkins Center for ... a drop of blood appears as the Arts at Dartmouth I pull out the needle ... there College and sat on a is no change ... I am not run- panel with him about ning up to 110th street ... ever current research at again ... and the cells are silent the intersection of art, as they divide and divide and medicine, and neuro- divide ... I will be the last to science. know ... as always ... but please broken (1993) no pity ... they taught me how Jeffrey Cohen to do this
CREDITS BRAIN STORM Co-Directors: Aaron Jungels and Dorothy Jungels Creators/Performers: Grace Bevilacqua, Justine Bevilacqua, Ari Brisbon, Aaron Jungels, Rachael Jungels, Marvin Novogrodski, Sokeo Ros, Edgar Viloria Production Design: Aaron Jungels Video Collaboration: Laura Colella Animation: Steven Subotnick Lighting Design: Deb Sullivan Sound Editing: Justine Bevilacqua and Dorothy Jungels Costume Design: Robyn Duffy Everett Managing Director: Kate Anderson Program Guide Contributors: Willoughby Britton, Jeffrey A Cohen, Megan Sandberg-Zakian Featured: Angelo, Richard Lamb, Sutie Madison, Joel Smith, Nancy and Margaret Worthen Program Guide Design: Brian Jones / brianjonesdesign.com Program Guide Project Director: Adrian Moore THANK YOU Brown University and the Institute for Brain Science (BIBS), the clients of Crotched Mountain, David White – Art Ven- tures New England, Bob Jungels, Cherisse Bandy, Susan Joyce, Kenneth Moore, Rachel Panitch , Megan Sandberg- Zakian, and our community. The scientists who sat for interviews: Stephen Correia, John Davenport, Lachlan Franquemont, Carlos Vargas-Irwin,NEA-logo-color.jpg 2,100×1,500 pixels 11/21/11 7:47 PM Catherine Kerr, Jennifer Lambert, Jim McIlwain, Stephen Mernoff, Naveen Rao, and John Stein. Brain Café presenters: Rick Benjamin, Willoughby Britton, Victoria Chang, Thomas Emmet, Mark Gapen, Hakon Heimer, Beata Jarosiewicz, Brian Jones, Sutie Madison, Michael Paradiso, Lisa Peck, Carl Schoonover, John Stein, Patrick Tracey, Jeffrey Wishik, Margaret Worthen and Nancy Worthen. www.everettri.org The BRAIN STORM Program Guide is funded by the Rhode Island State Council for the Humanities, an independent affiliate of the National Endowment for the Humanities. Any views, findings, conclusions or recommendations expressed in this publication do not necessarily represent those of the Nationalhttp://www.nea.gov/manageaward/logos/NEA-logo-color.jpg Page 1 of 1 Endowment for the Humanities or the Rhode Island Council for the Humanities. BRAIN STORM was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Laura Colella Foundation and additional funding from the Andrew W. Mellon Foundation and the Boeing Company Charitable Trust. Additional funding was provided by the MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation, and the National Endowment for the Arts. BRAIN STORM was created through a multi-year artist residency produced by ARTVENTURES New England at the Crotched Mountain Specialty Hospital and School (www.crotchedmountain.org) in Greenfield, NH. Crotched Mountain is one of the country’s leading brain injury and neurological disorder rehabilita- tion and treatment institutions. Funding provided in part by a grant from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly, a grant from the National Endowment for the Arts and private funders, and The Rhode Island Foundation.
Bianca MorrisEverett is a cross-disciplinary, cross-generational, and cross-cultural ensemble of dance and theater artists creating,performing, teaching, and engaging a diverse communitythrough the arts.Guiding Everett’s mission is a deep belief in collaboration, ex-perimentation, and the artist’s role in creating a just, equitable, Justine Bevilacquaand joyous future.Our Company, Stage, and School work in concert to build andsupport this vision. Laura ColellaOur Company was founded in Providence in 1986, and hassince gained national recognition for its unique creative vision,social consciousness, and effective youth programs. We createoriginal dance theater performances, produce film and video,carry out a wide range of educational programs, and mentor Owen Muirnew generations of young artists.Our Stage serves as both a community gathering space anda laboratory for the Company and the School, a site whereideas are explored, concepts are tested, and discoveries aremade. Everett’s Stage provides an intimate and inviting spacefor the community to come together to tell and hear stories,learn from experimentation, and celebrate our lives together.Our School is a three-tiered education program that offersthe following: free ongoing classes in the performing artsto underserved youth, mentorship, and apprenticeship op-portunities to those who want to pursue the arts in a deeperway. Through this training, students’ unique qualities and lifeexperiences are treated not as obstacles to be overcome, butas valuable material, which they can own and use.