Miller Endowment Visitors

Adam Del Monte's achievements are as diverse as they are impressive. As a performer, he has graced some of the world's most prestigious stages, captivating audiences with his spellbinding interpretations and electrifying technique. Del Monte's performances range from intimate recitals to collaborations with orchestras and ensembles, showcasing his unparalleled mastery of the guitar in both flamenco and classical traditions.

A defining characteristic of Del Monte's artistry is his pioneering approach to flamenco fusion. Embracing influences from a myriad of musical genres and cultures, he has created a distinct and innovative sound that pushes the boundaries of traditional flamenco while remaining rooted in its rich heritage. Del Monte's expertise in flamenco fusion has earned him acclaim as a trailblazer in the genre, inspiring musicians and audiences alike with his groundbreaking compositions and arrangements.

Throughout his illustrious career, Del Monte has collaborated with esteemed ensembles and orchestras worldwide, seamlessly blending the intricate rhythms and passionate melodies of flamenco with diverse musical traditions. His collaborations have spanned across continents, from Carnegie Hall in New York to Tchaikovsky Hall in Moscow, leaving an indelible mark on the global music scene.

Del Monte's contributions to flamenco and classical guitar extend beyond the stage. As an educator, he is committed to passing on his knowledge and passion to the next generation of musicians, sharing his expertise through workshops, masterclasses, and educational programs. Del Monte's dedication to mentorship and musical education underscores his role as not only a performer but also a custodian of flamenco's rich cultural legacy.

In summary, Adam Del Monte's biography is a testament to his status as a maestro of flamenco fusion, whose achievements, performances, and contributions have left an indelible mark on the world of music. With his unparalleled expertise and boundless creativity, Del Monte continues to push the boundaries of flamenco guitar, inspiring audiences and musicians alike with his singular vision and passion for the art form.

WEBSITE

Actor/ playwright/dramaturg Monique Mojica’s (Guna and Rappahannock) theatrical practice is centered in land-based embodied research and the development of culturally specific Indigenous dramaturgies. She is passionately dedicated to a theatrical practice as an act of healing, of reclaiming historical/cultural memory and of resistance.

Her first play, Princess Pocahontas and the Blue Spots was produced in 1990 and is taught in curricula internationally. She was a co-founder of Turtle Gals Performance Ensemble with whom she created The Scrubbing Project, the Dora-nominated The Triple Truth and The Only Good Indian. In 2006, she founded Chocolate Woman Collective to develop the play Chocolate Woman Dreams the Milky Way, a performance created by devising a dramaturgy specific to Guna cultural aesthetics, story narrative and literary structure.

Monique has taught Indigenous Theatre in theory, process and practice at the Institute of American Indian Arts, McMaster University and is a former co- director of the Centre for Indigenous Theatre, Toronto. She has lectured on embodied research and taught embodied performance workshops throughout Canada, the U.S., Latin America and Europe. She is a member of the new Indigenous Dramaturgy Circle at Tarragon Theatre, Toronto, and was the inaugural 2023 Wurlitzer Visiting Professor at the University of Victoria’s Theatre Department.

As an artist/scholar, Monique is the co-editor, with Ric Knowles, of Staging Coyote’s Dream, vols. I & II and of the upcoming volume III, co-edited with Lindsay Lachance. Newly released is Chocolate Woman Dreams the Milky Way: Mapping Embodied Indigenous Performance, written with Brenda Farnell (U of Michigan Press, 2023).

Monique performed in Kaha:wii Dance Theatre’s world premiere of Re-Quickening choreographed by Santee Smith, and with the National Arts Centre Orchestra in I Lost My Talk as part of the Life Reflected series. Most recent performances include: My Sister’s Rage for Tarragon Theatre, The Unnatural and Accidental Women at the NAC, and Izzie M.: The Alchemy of Enfreakment written by Monique with a diverse creative team. Monique has collaborated with Santee Smith since 2013 as the dramaturg for Kaha:wi Dance Theatre’s tryptic, Re-Quickening/ Blood Tides/SKe:NEN and forTeneil Whiskeyjack’s Ayita for Edmonton’s SkirtsAfire Festival. See also: https://nac-cna.ca/en/bio/monique-mojica

Under the name “People Like Us,” artist Vicki Bennett has been making work available via CD, DVD and vinyl releases, radio broadcasts, concert appearances, gallery exhibits and online streaming and distribution since 1992. She sees collage as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form. Embedded in her work is the premise that all is interconnected and that claiming ownership of an “original” or isolated concept is both preposterous and redundant. Using collage as a compositional tool, Vicki Bennett opens up endless opportunities to experience results that are more than the sum of the parts.

As a solo artist or collaborator Vicki has published more than 40 video projects and 50 audio recordings, with works released by labels including Illegal Art, Rough Trade, Soleilmoon Recordings, Discrepant, Sonic Arts Network and Touch. Vicki’s DO or DIY show on the fiercely independent New York City-market radio station WFMU has run since 2003. Her video work has been screened at Tate Modern, Whitechapel Gallery, BFI, Purcell Room, Barbican, ICA, V&A. Centre Georges Pompidou (Paris), Sonar (Barcelona), MAXXI/National Museum of XXI Century Arts (Rome), Walker Art Center (Minneapolis) and Centro de Cultura Digital (Mexico City), among other institutions. Video works have been aired on Channel 4 and radio sessions created for John Peel and Mixing It.

People Like Us has been commissioned by Arts Council England, Barbican, Attenborough Centre (ACCA), The BBC, WDR, Deutschlandradio, PRSF, a-n, Great North Run, Sound and Music, Channel 4/Animate Projects, AV Festival, Hallwalls Contemporary Arts Center, Recombinant Media Labs (RML), Sonic Arts Network, Forma, LUX and Lovebytes.To date, Vicki has had 7 solo exhibitions and participated in at least 20 group shows at MAXXI (Rome), Venice Biennale, HMKV (Dortmund), Centro de Cultura Digital (Mexico), Hatton Gallery (Newcastle), Vitrine (London), alt.gallery (Newcastle), Greene County Council for the Arts Gallery (NY), Peacock Visual Arts (Aberdeen), Pallant House (Chichester), Engramme (Quebec), La Scatola Gallery (London), Changing Room (Stirling), Franklin Street Works (Connecticut), Usurp Gallery (London), University of Greenwich Galleries, Matthew Gallery (Dundee), Edinburgh Printmakers, Millennium Gallery (Sheffield) Leeds College of Art, Sunbeam Studios (London) and Hallwalls Contemporary Arts Center (NY).

People Like Us has been reviewed in The Wire, BBC website, Bizarre Magazine, Rolling Stone, Frieze, The Independent, Record Collector, Time Out, Film Comment, The Guardian, The Scotsman, XLR8R, Baltimore City Paper, Sight and Sound, NME, Metro and San Francisco Bay Guardian, and interviewed for Found Footage Magazine (2016), The Observer (2006), Filmmaker Magazine (2015), The Wire (2014, 2011, 2008, 1999), Sight and Sound (2013), a-n Magazine (2012), Wired (2012), RadioWeb MACBA (2010), Sound and Music (2011), Sound Projector (2012, 2000), Bizarre Magazine (1999), NME (1995, 1996). Since 2018, Vicki has been touring her solo a/v performance The Mirror, released an album under the same name, which reached No.8 in The Wire‘s albums of the year. Vicki produced the video for the spring 2018 The The Comeback Tour, and was participant in Sound and Music’s New Voices programme, and a-n Artist Bursaries 2019 recipient. The 45 minute radio art commission I Can Fly aired on WDR in Spring 2020.In 2020, Vicki worked on two new pieces for her solo show as Hallwalls Artist in Residence (HARP), culminating in a solo exhibition First Person, Fourth Wall.In 2021 People Like Us facilitated and toured Gone, Gone Beyond, an hour-long seamless multiscreen and multi-speakered immersive cinema installation to nyMusikk Oslo, SPILL Festival Ipswich, Attenborough Centre (ACCA) Brighton and London Barbican. Vicki also resumed her radio show DO or DIY with People Like Us on the WFMU Summer Schedule. Vicki also was the cover photo of the May 2021 edition of The Wire magazine.

2022 saw the solo exhibition “MIND MAPS: The Art of Vicki Bennett” at Sheehan Gallery, Walla Walla, USA and also Orfeó Lleidatà Lleda Spain. Gray Area San Francisco screened of Gone, Gone Beyond for three weeks in May, and “108”, a new 22 hour radio piece by People Like Us broadcast on Radio Arts Zone. People Like Us were joined by artist collaborators Gwilly Edmondez and Ergo Phizmiz to perform at The Wire Magazine’s 40th Anniversary event. Vicki created a radio commission “Changing Your Mind” for Deutschlandradio to be broadcast on 14 April 2023, and broadcast a mixtape for BBC Radio 3’s Late Junction. Rhapsody in Glue (w/ Ergo Phizmiz) was released as a lathe cut vinyl edition in November 2022.

WEBSITE

MillerComm information HERE

traci kato-kiriyama (they+she; based on unceded Tongva land in the south bay of Los Angeles) --author of Navigating With(out) Instruments (Writ Large Press)--is an award-winning multi-, inter- and transdisciplinary artist, recognized for their work as a writer/performer, theatre deviser, cultural producer, community organizer, and audiobook narrator.

As a storyteller and Artivist, tkk is grounded in collaborative process, collective self-determination, and art+community as intrinsically tied and a critical means toward connection and healing. She is a performer & principal writer of PULLproject Ensemble, two-time NET recipient; NEFA 2021-22 awardee for their show TALES OF CLAMOR.

tkk —presented in hundreds of venues for over 25 years as a writer, actor, poet, speaker, guest lecturer, facilitator, Artist-in-Residence, and organizing / arts & culture consultant— has come to appreciate a wildly hybrid career (presenters incl. LaMaMa Cabaret; The Smithsonian; Skirball Cultural Center; EnWave Theatre; The Getty; Hammer Museum; Grand Performances; Whisky a Go Go; Hotel Cafe; House Of Blues; and countless universities, arts spaces, and community centers across the country). Their writing, commentary, and work is also featured in a wide swath of media and print publications (incl. NPR; PBS; C-SPAN; Los Angeles Review of Books; Elle.com; Entropy; Chaparral Canyon Press; Tia Chucha Press; Bamboo Ridge Press; Heyday Books; Regent Press; Temple University Press).

tkk is a core artist with Vigilant Love; founding member of the Okaeri Nikkei LGBTQ+ Network; a principal organizer of the National Nikkei Reparations Coalition and Nikkei Progressives/NCRR; and serves as the Director/Co-Founder of Tuesday Night Project - presenter of the Tuesday Night Cafe series, which will soon celebrate 25 years as the longest-running Asian American public arts series in the country.

Additional fun facts!

tkk’s work and their book Navigating With(out) Instruments are being taught in contemporary literatures & cultures, contemporary poetry, Asian American Studies and Ethnic Studies courses, and senior writing seminars on experimental poetry and creative writing (incl. UCLA; CSUN; Fresno State; Colorado College; USC; Smith College).

traci is an Audie Award nominee and AudioFile winner for her work as an audiobook performer, with titles including The Memory Police; Temple Alley Summer; The Fervor; Intimacies; The Swimmers; The Phone Booth at the Edge of the World; Fred Korematsu Speaks Up!; and the upcoming Kurashi At Home by Marie Kondo.

As a creative/educator - tkk has facilitated, directed, and taught to thousands of artists, activists, writers, students of all ages throughout the globe with workshops in the arenas of experimental creative writing, poetry, collaborative storytelling, ensemble building, theatre devising & performance – on themes and issues including art & activism, solidarity work for the long-haul, mental health and collective care, arts organizing & cultural production / co-creating art+community space.

https://jordanpascoe.wordpress.com/

Jordan Pascoe is Professor of Philosophy at Manhattan College with honorary appointments in Women and Gender Studies and Critical Race and Ethnicity Studies. Along with her professorial duties, Pascoe has held leadership positions at Manhattan College since 2015, when she became both the Director of the Center for Ethics and the College’s pre-law advisor. In 2018, Pascoe left the Center for Ethics to work with students to found and direct a new Women and Gender Center on campus. Under her leadership, the Women and Gender Resource Center became the first student-led space on campus, offering faculty mentorship of student scholarship, student-led programming and resources, and a range of student-initiated engagement projects that transformed campus policy. Through the Center, Pascoe organized and facilitated more than 125 on-campus events over three years and founded and advised both a student summer fellowship program and an internship program through which students developed resources and advocacy programs. Since departing the Center in 2022, Pascoe has served as the Director of both the Labor Studies Program and the Women and Gender Studies Program at Manhattan College.

Pascoe’s scholarly work explores moral, social, and political philosophy across a number of domains, each dealing with philosophy of race as well as decolonial and feminist philosophy. Her work in ethical theory, philosophy of race, and feminist philosophy is focused on three main areas: Kantian philosophy, sexual and reproductive ethics, and the ethics and politics of disaster. All three strands of her work are informed by intersectional feminist and decolonial approaches and draw on non-Western philosophical frameworks. As is common in philosophy, through her assistant and associate years, she produced primarily scholarly articles. She has published extensively in all her areas of interest, including in Kant journals, such as Kantian Review and Estudos Kantianos; in feminist journals, such as Feminist Philosophy Quarterly and Women’s Studies Quarterly; in general philosophy journals, such as Southern Journal of Philosophy and Journal of Social Philosophy; in journals focusing on public policy, such as the Kennedy Institute of Ethics Journal and Health Securities; and in such important anthologies as Kant’s Feyerabend Lectures: A Critical Guide (ed. F. Rauscher) and The Philosophy of Sex and Love (ed. M. Clancy & C. Hay). She recently published her first monograph—Kant’s Theory of Labour (Cambridge University Press 2022)—and together with Mitch Stripling, she has forthcoming a second book on the philosophy of disasters entitled The Epistemology of Disasters and Social Change: Pandemics, Protests, and Possibilities (Rowman Littlefield 2024).

Her work in feminist philosophy has been recognized through her appointment as Associate Chair of the American Philosophical Association’s Committee on Women and Gender in Philosophy, her leadership as Co-Director of the Society for the Philosophy of Sex and Love, her role as co-author for the “Feminist Ethics” entry in the Stanford Encyclopedia of Philosophy, which is the most prestigious encyclopedia in philosophy worldwide. Her research leadership in Kant studies is reflected in her appointment to the Editorial Board of Estudos Kantianos and her advisory role for Kantian Review on their special editions on “Kant and Marx” and “Radicalizing Kant.” Her impressive mentoring abilities are reflected in her invitation to become a founding member of the Pariah Manuscript Workshop, where she still participates in monthly sessions designed to support faculty of all levels to develop book-length manuscripts.

MillerComm information HERE