Juan Antonio Rivera
Alumni - Music
Førgøtten – A Contemporary Ballet for the Soul.
Dance, Ballet, Poetry, Surrealist space, Nightmares, Afro-futurism, Outrage, Embodiment, Introspection, Healing, Reconnecting, Community, Contemplation, Empathy, Compassion, Rebellion, Activation, Awareness, Awakening, the Future is Female, and the Future is Mixed.
Featuring music by:
Elliot Cook Carter, Jr. (b. December 11, 1908-d. November 5, 2012) was an American composer who was a two time Pulitzer Prize winner. He was the son of Elliot Carter, Sr., a wealthy lace importer, and the former Florence Chambers. As a teenager, he received musical encouragement from another American composer and insurance salesman, Charles Ives. Ives, in fact, sold insurance to the Carter family. In the 1930s he studied with Nadia Boulanger in Paris and then returned back to the United States. He originally had works that were more neoclassical in flavor, but his style shifted to emphasize rhythmic complexity and atonality. His works include all types of instrumentation such as orchestral, chamber music, solo instrumental, and vocal works.
Juan A. Rivera, flute
Ernesto Cruz, clarinet
32:35 “Enchanted Preludes” by Elliott Carter
Juan Antonio Rivera, flute
Erika Duke-Kirkpatrick, cello
Luciano Berio, Cavaliere di Gran Croce OMR (an Italian knighthood title) (b. October 24, 1925-d. May 27, 2003) was an Italian composer. Born in Oneglia, he was taught piano by his father and grandfather, who were both organists. During World War II, he was conscripted into the army but injured his hand learning how to work a gun. Following the war, Berio studied under Giulio Cesare Paribeni and Giorgio Federico Ghedini at the Milan Conservatory. Unfortunately, Berio could not continue to study piano performance due to his hand injury, so he decided to concentrate his musical efforts on composition. He was known for his experimental work as well as his pioneering work in electronic music. In fact, Berio is credited with the first electroacoustic composition in the history of western music made with
voice and elaboration of the voice with technological means.
Juan A. Rivera, flute
Our Composition begins with “THE CYCLE,” which is told in two sections comprised of poetry, videography, choreography, acting, costumes, and contemporary music from Elliot Carter’s “Esprit rude, esprit doux” for flute and clarinet.
To begin our tribute to the female victims of police brutality, “Say My Name” is a call to feel the pain of these losses through diction and enunciation of these women’s birth names. The soloists explore the life of being a victim, a survivor, a mother, a grandmother, a daughter.
In the third section, we decided to focus on the victims’ families and their need for healing. We consider this our healing section. In “At your last,” we express the hope that the victims had a final exhilarating moment of feeling loved by another person, whether it was their mother, husband, daughter, or grandmother. That although the world was crushing them, they still have that powerful memory of love. Being loved.
The piece culminates in a scene where newly turned humanoids have solved the human dilemma of prejudice. Our society cannot hide its shameful past trespasses by encaging, imprisoning our family of color. The deluge, the chaos, wake up. Improvisation erupts.
Juan A. Rivera
Angelica Mondol-Viana, Joye Forrest, & Elizabeth Geocaris
Jamila Reddy & Taireikca Glover
Sarah Van Sciver
Video editing by
Sarah Van Sciver
Costume design by
Matthew Kuang, Joye Forrest, Elizabeth Geocaris, Ellen Edwards-Siess, & Angelica Mondol-Viana
Ellen Edwards-Siess, Joye Forrest, Elizabeth Geocaris, Matthew Kuang, & Angelica Mondol-Viana
Future-Beings acted by
Dionna Daniel & Henita Tello
Public Awareness Actors/Walkers/Crowds acted by
Diana Cioffari-MacPhee, Ruth Odukoya, Natalie Perez, & Jordan Terrel
Dance Machine This project aims to discuss what’s the function of space, to explore the relationship between objects’ physical movements and spatial configuration in a different way, and to consider how we search/use/limit/share the space for a different purpose. The artist takes a dynamic sculpture approach to investigate the realm between visible the invisible. The […]
Multimeda recordings of spontaneous music: prompts for assembling sound and image, running remote-distanced seances, and/or time-based annoyance. CalArts Percussion Ensemble: Morgan Alford, Kristyna Svihalkova, Henry Delargy, and Eric Lennartson Free Improvisation Ensemble: Camille Kiku Belair, Maria Alejandra Bulla, Rebecca Drapkin, Hazel Feiner, Brian Griffith, Jeremy Rosenstock, Adam Zuckerman, Kai Cleaveland, Stefany Glik, Bjorn Gustafsson, Terry […]
Elements Elements is an interactive web-based installation that uses the classical Chinese idea of five elements (火 fire, 水 water, 木 wood, 金 metal, and 土 earth) to explore perspectives that contradict and coexist at the same time. Visitors to the web-page will be able to manipulate elements (as represented by Chinese characters), and see […]
Flight “Flight” is a 2019 concept album mirroring the timeline of human life, from birth until death and beyond. Each song, lyrically and sonically, represents a different time period, but all are reflections of life as a whole. Beginning with “Liftoff/Zephyr”, we rise into a period of birth and infancy, of wonder and innocence, carrying […]
Blake The Sorcerer Blake The Sorcerer is a recently released album of original piano solo pieces with different moods and subjects Fortune Freeway –
The Mermaid is a collaborative music video and one of the 6 pieces of my thesis project “Inner Creatures.” “Inner Creatures” explores the development motivations, characteristics and environments of the different sub-personalities within the psyche. “The Mermaid” is the sub-personality that deals with the emergence of sexuality, sexual identity, femininity and the need for self-determination. […]
Light: action and reaction “Light: action and reaction” highlights the awe and wonder of the simple transition of light throughout the day. Time lapse video captures the movement of the sun and its reflection/refraction across dichroic tiles. The changing pattern of color and light encourages the viewer to slow down and appreciate shadow art that […]
Joana P. Cardozo
The Naked Hours For 100 hours, I cut 2 x 2 inches black paper with scissors and covered the L-Shape Gallery walls at the California Institute of the Arts. I did not speak. I did not use a cell phone or other electronics. I ate, rested, wrote, and meditated as necessary. I left the gallery […]