Soluna Rising

The 6 must-see events at Dallas' enchanting and experimental Soluna Festival

With its heady mix of visual arts, dance, and orchestral performance, no one knew quite what to expect from the 2015 debut of the Soluna International Music & Arts Festival. Anchored by the Dallas Symphony Orchestra, its seemingly effortless blending of aesthetics and practices was such a success that co-founder and director of festival advancement Anna-Sophia van Zweden is bringing a more curated approach to this year’s edition.

"We definitely learned so much from last year,” says van Zweden. “We were very aggressive in the number of programs we presented, and we learned that it was better to do fewer presentations. It was also a time to understand what the audience responded to. For the Dallas Symphony Orchestra, we did a chamber music program called 'A Musician’s View' on the Meyerson stage, which was a big hit. It really felt like a program for friends, and so it is something we absolutely repeated.”

Lest attendees think Soluna will be dialing it down completely in 2016, the theme of “Myths and Legends” suggests otherwise. Inspired by Mahler’s fairy tale cantata Das Klagende Lied, a key work in the Dallas Symphony Orchestra’s classical programming, this year’s lineup continues to innovate by pairing superstar pop idols (Pharrell Williams) with rarified, renaissance talents such as the “mystery man of modern dance” Jonah Bokaer and performance artist/set designer/videographer Daniel Arsham for the highly anticipated world premiere of The Rules of the Game.

With the upcoming departure of music director (and van Zweden’s father) Japp van Zweden in the 2018/2019 season for his new position at the New York Philharmonic, rest assured that she will remain in Dallas at least part-time to continue Soluna’s tradition of inspiring programming.

Citing Anton Ginzburg’s Remix: Orchestral Myth and Legend on May 20-21 and whimsical artist Paola Pivi’s free performance Ma’am on May 24 as treats for fans of the visual arts, van Zweden has culled this year’s pared-down but still impressive programming into her six can’t-miss performances.

1. The Rules of the Game
The aforementioned marriage of high art and cool pop, The Rules of the Game will make its debut May 17 at the Winspear Opera House. This epic event had its genesis in the winter of 2015 with a simple studio visit with Daniel Arsham.

Recalls van Zweden, “Muriel Quancard, our curator-at-large, [and I] asked him if he could think of a collaborative work including music and possible choreography. At the time Jonah Bokaer was in discussion with a New York organization to present new choreography, and Daniel proposed us to collaborate [with him] as well as Pharrell Williams.”

This one-night-only world premiere is the first in an international tour of the work that will travel throughout the U.S., Europe, and Australia, and as Dallasites love to be ahead of the game (no pun intended), it’s truly a must-see for Soluna 2016.

2. "Music and the Brain"
Exploring the healing power of music, Soluna’s “Music and the Brain” returns for its second edition May 21 at Dallas City Performance Hall.

Says van Zweden, “This was one of the most popular events from last year, and our partnership with UT Southwestern was so fruitful. We all learned so much, and it made sense to maybe take a look behind pure performance to see how music ticks.”

Speakers will explore such topics as how to turn brain waves into sound — a way to detect seizures — as well as exploring how George Gershwin’s compositions have helped with ADHD.

3. Our Heroes
Because Soluna is occurring a little later this year and aligns with Memorial Day, Maestro van Zweden is conducting a free performance of patriotic classics May 29 in Klyde Warren Park.

His daughter explains, “It celebrates the armed forces and first responders. It’s a ‘thank you' for those who do so much for us.”

4. Britten: Noah’s Flood
Fans of Wes Anderson’s Moonrise Kingdom won’t want to miss the live staging of Britten’s one-act opera, which was featured in the film. Held on May 31 and June 1 at the Cathedral Shrine of the Virgin of Guadalupe, the free performance will bring together the DSO with Karina Canellakis Young Strings, the Dallas Recorder Society, the First United Methodist Church Handbell Choir, Texas A&M Commerce Buglers, and a cast of musicians and singers.

“The concert is cast with children from the area as the animals, with an ark built especially for this production and amateur musicians playing alongside our DSO players,” says van Zweden.

5. Mai-Thu Perret: Figures
Based on a fictional art commune she calls “The Crystal Frontier,” Mai-Thu Perret’s sculptural installation has been intriguing visitors of the Nasher Sculpture Center since March. For her June 2 performance in the museum’s amphitheater, the Swiss-born artist takes it to another level with a life-size marionette animated by the choreography of Anja Schmidt.

Embracing an Indian mystic, 19th-century American Shaker, '50s computer programmer, an artificial intelligence, and a journalist — presumably all residents in this illusory art commune— this re-staging of a performance from the Biennale of Moving Images in Geneva promises to be a thought-provoking pairing of both real and imaginary bodies.

6. Conrad Tao: Alice
A world premiere from the brilliant young composer and pianist (and the DSO’s current artist in residence) June 3 at the Meyerson Symphony Center, Alice is based on one of the world’s favorite fairy tales: Alice in Wonderland. What better bedtime story to wrap up a season of events that just may go down in DSO history?

Jonah Bokaer, Why Patterns.

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Dance News

Dallas Black Dance Theatre makes interim artistic director permanent

Photo by Aleah Pilot

Richard A. Freeman Jr. became the new artistic director October 24, 2025.

Dallas Black Dance Theatre (DBDT) has officially named Richard A. Freeman, Jr. as its new artistic director, ushering in a new era of leadership for the dance company as it approaches its 50th anniversary season.

Freeman, a longtime member of the DBDT family, has served as interim artistic director through the company’s recently completed 48th and current 49th seasons. His appointment, effective October 24, 2025, marks a natural progression for the former lead dancer, resident choreographer, and artistic project coordinator, whose career within DBDT spans more than a decade of creative and organizational leadership.

“Richard has been an integral part of Dallas Black Dance Theatre's artistic fabric for years, and his extraordinary leadership during his time as interim artistic director made this decision clear,” says Heidi K. Murray, a member of DBDT’s board of directors, in a release. “His dedication to artistic excellence, his deep understanding of our mission, and his vision for the future of contemporary modern dance make him the ideal person to lead DBDT into this exciting new chapter.”

DBDT founder Ann M. Williams echoed the sentiment, calling Freeman’s appointment a full-circle moment for both artist and company. “Richard embodies everything Dallas Black Dance Theatre stands for: artistry, excellence, and a deep commitment to uplifting our community through dance,” she says in the release. “I have had the privilege of watching him grow from a gifted dancer into an inspiring leader and visionary artist. His dedication to preserving our legacy while boldly charting new artistic territory gives me tremendous confidence in DBDT’s future.”

During his tenure as interim artistic director, Freeman guided DBDT through seasons marked by artistic innovation and expanded community engagement, but also staff shake-ups and legal issues.

In October 2024, accusations of retaliation surfaced after 10 DBDT dancers, its entire main company, were fired following their decision to unionize in May and demand better working conditions. This led to an unprecedented "Do Not Work" order by the American Guild of Musical Artists.

Dallas City Council ultimately voted to withhold $248,000 in city funding due to labor violations, and DBDT later settled for $560,000 with the National Labor Relations Board.

In response, DBDT formed a 17-member advisory stakeholder task force co-chaired by Jennifer Scripps, president and CEO of Downtown Dallas, Inc., and Shawn Williams, vice president of public affairs at Allyn. The group has been working with DBDT leadership to review the organization’s policies and practices, propose changes that foster an accountable environment, and put in place safeguards to prevent future concerns related to talent.

In September 2025, executive director Zenetta Drew announced her retirement after nearly four decades with the company. A national search for her replacement will start in early 2026. Williams retired in 2014.

As artistic director, Freeman will oversee all aspects of DBDT’s artistic operations, from performances to educational initiatives, and continue to expand its reach throughout Dallas and beyond.

“I am deeply honored to accept this role and to continue building on the incredible foundation established by the vision of Ann Williams,” Freeman says. “This company has a unique power to move, inspire, and unite communities through dance. I look forward to working with our talented dancers, staff, and board to create unforgettable artistic experiences and to nurture the next generation of dance artists.”

A native of Washington, D.C., Freeman began his training with the District of Columbia Youth Ensemble and the Washington Ballet before graduating from the Duke Ellington School of the Arts and Virginia Commonwealth University. His performance credits span acclaimed companies and productions, including Elisa Monte Dance, Houston Grand Opera, Porgy and Bess, and The Wiz.

Freeman’s choreographic works have been featured by leading institutions such as Texas Ballet Theater School, Texas Christian University, and Booker T. Washington High School for the Performing and Visual Arts. He has also shared his expertise through master classes and workshops nationwide, reinforcing his commitment to DBDT’s educational mission.

Founded in 1976, Dallas Black Dance Theatre is the oldest and largest professional dance company in Dallas and one of the most acclaimed Black dance institutions in the U.S.

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