Description
Following the groundbreaking success of The Notebooks of Leonardo da Vinci—a multimedia symphony that has been performed over 50 times in the last five years—comes Creation, a visionary new work from composer Jocelyn Hagen that reimagines the story of existence through a feminine lens.
An oratorio in three parts, Creation is a celebration of beauty, creativity, and the profound act of bringing life into the world. Scored for Treble Choir with three distinct orchestrations—symphony orchestra, wind symphony, and small chamber ensemble—this work blends music, poetry, and immersive visuals to craft a deeply moving artistic experience.
The libretto is woven from the words of eight women poets, exploring themes of the universe’s birth, the formation of life on Earth, motherhood, and the power of community. Among these texts are two newly commissioned poems by Gretchen Ernster Henderson, including “Another Word for Love is Light.” The piece is dedicated to Cecilia Payne, the pioneering scientist who discovered the composition of the universe, embodying the work’s themes of knowledge, wonder, and humanity.
True to the composer’s unique creative process—detailed in her TEDx Talk, “Composing for Choir, Orchestra, and Video Projections”—Creation marries music and visuals in a synchronized, dynamic interplay where projections “dance” alongside the score. These stunning visuals will depict the night sky, fields of flowers in bloom, sky lanterns ascending into darkness, and intimate moments of women dancing, working, and existing together in harmony.
In a groundbreaking artistic collaboration, every creative force behind Creation—from composer to poets, filmmakers, dancers, and animators—will be women. The result is a powerful statement on the creative force of womanhood, inspired by Emily Dickinson’s words: “To be a Flower, is profound responsibility.”
Spanning 45 to 60 minutes, Creation will be an immersive, transcendent experience, inviting audiences to reflect on the interconnectedness of life, light, and love.
See details below and reach out to join the consortium and receive a regional premiere of Creation in its first official season in the year 2027.
Collaborators

JoLynn Garnes is a film and video editor based in Minneapolis, MN. She is known for her work in documentary filmmaking, music videos, commercials, and live video content. From Beyoncé to Vera Wang, she has collaborated with a range of artists and creative teams to craft visually engaging, rhythm-driven projects that blend storytelling with distinctive visual style.

Alicia Allen is an animation artist and director based in Minnesota and a partner at the motion design studio Modular. Her work blends digital collage, compositing, and design-driven animation to create immersive visual worlds rooted in color and texture. With a personal love of plants and gardening, her animations dive into themes of growth, cycles and renewal, often using the natural world as a lens for storytelling.

Lindsey Stupica is an animator working in traditional 2D animation and After Effects, with a practice rooted in rhythm, gesture and expressive movement. Deeply connected to music in her own creative life, she is drawn to projects where image and sound intertwine. Her work brings a tactile, hand-crafted sensibility to digital space, with an emphasis on timing, emotion and flow.

Gretchen Ernster Henderson is a poet, intermedia writer, educator, and gardener who cross-pollinates creative and critical practices rooted in environmental arts, cultural histories, and integrative sciences. The author of five books across genres, along with a repertoire crossing media arts and field practices, Gretchen is the Spence L. Wilson Distinguished Professor in the Humanities at Rhodes College in Memphis, TN. Her works have been supported by the Mellon Foundation, National Endowment for the Humanities, and artist residencies including the Lucas Artist Program at Montalvo Arts Center, Jan Michalski Foundation for Writing & Literature in Switzerland, and Frank Lloyd Wright’s Fallingwater. Originally trained as a musician, Gretchen loves composing language to be embodied as song. Some of her previous opera libretti were supported by Opera America and MIT’s Center for Art, Science & Technology. Her collaborations with composer Jocelyn Hagen include Medusa, What the Soul Already Knows, and Creation. Her fifth book, Life in the Tar Seeps: A Spiraling Ecology from a Dying Sea (Trinity University Press 2023), is seeping across exhibitions and performances into Dear Body of Water: a poetic water-harvesting project (in collaboration with the University of Arizona Poetry Center) to grow a chorus of care for watersheds. Gretchen’s writing has been called “illuminating” and “artful” (The New Yorker), “fascinating … absorbing … generous” (The Guardian), and “often profound,” “Henderson’s libretto itself … already offers a multi-media experience” (Boston Musical Intelligencer). In 2025-2026, Gretchen is the Woodberry Poetry Room Creative Fellow at Harvard University, with a solo exhibition at the Turchin Center for the Visual Arts at Appalachian State University. Born and raised in San Francisco near the Pacific Ocean, she shares her time between the Mississippi River Watershed and the Sonoran Desert, attuning to water as home. More at gretchenhenderson.com.

Kao Kalia Yang is a Hmong American teacher, speaker, and writer. Her work crosses audiences and genres. She is the award-winning author of the memoirs, The Latehomecomer, The Song Poet, Somewhere in the Unknown World, and Where Rivers Part. Yang co-edited the groundbreaking book, What God is Honored Here?: Writings on Miscarriage and Infant Loss By and For Native Women and Women of Color. She is a librettist for The Song Poet Opera (commissioned by Minnesota Opera). Her children’s books, A Map into the World, The Most Beautiful Thing, The Shared Room, Yang Warriors, From the Tops of the Trees, The Rock in My Throat, and Caged center Hmong children and families who live in our world, who dream, hurt, and hope in it. Yang’s middle grade debut fiction, The Diamond Explorer, contends with the narratives we are given and the ones we give. Yang’s work has been recognized by the National Endowment for the Arts, the National Book Critics Circle Award, the Chautauqua Prize, the PEN USA literary awards, the Dayton’s Literary Peace Prize, as Notable Books by the American Library Association, Kirkus Best Books of the Year, Bank Street College of Education’s Best Children’s Books of the Year, the Heartland Bookseller’s Award, the Carter G. Woodson Award, and garnered seven Minnesota Book Awards. She’s Star Tribune’s 2024 Artist of the Year. Yang holds an honorary doctorate of humane letters from Carleton College. She is a McKnight, Soros, and Guggenheim fellow.

Laura Sukowatey is an artist, dancer, and multi-studio owner based in Minneapolis, bridging performance art and production for over a decade. With an education in print + broadcast journalism, photography, and design, she began her career in the tech industry at a Minneapolis startup, where she built and led a video marketing department from the ground up. After freelancing in production alongside the corporate marketing career for 11 years, she founded STUDIO AURA, offering photo and film services full time. A professional dancer and choreographer, Laura is also passionate about making dance accessible. In 2021, she co-founded Hothouse, a dance art space designed for both working artists and newcomers to pursue their dance aspirations. Laura performs professionally in Minneapolis and beyond, currently with local companies Black Label Movement, Crash Dance Productions, and Ruby Josephine Dance Theater. Known for her distinctive artistic voice and compelling storytelling, Laura’s creativity, work ethic, and vision make her a driving force in every project she takes on.

Isaac Gale is a filmmaker and musician from Minneapolis. He has directed numerous music videos and short films. His award-winning documentary short, “Sweet Crude Man Camp”, screened at film festivals worldwide. “Eternal September”, a collaboration with composer William Brittelle, premiered in May 2021.

Dance artist and educator Penelope Freeh questions how aesthetics shape meaning, revealing deeply personal content. Having spent the bulk of her career in Minneapolis/St. Paul, she is a two-time McKnight Fellow for Choreographers and Sage awardee for Outstanding Performer. Inextricably linked collaborations include several works with composer Jocelyn Hagen. Their dance opera Test Pilot premiered and won a Sage Award for Outstanding Design in 2014 and toured Minnesota in 2016. Freeh served as choreographer on the design team for Minnesota Opera’s The Song Poet, the first ever Hmong/English opera, composed by Hagen, which premiered in 2023. And choral ballet Unfashioned Creature, created with composer Timothy C. Takach, in partnership with James Sewell Ballet (JSB) and MPLS (imPulse) choral ensemble, was named a Top Ten Most Memorable Dance Event of 2023 by the Minneapolis StarTribune and toured Arizona in November 2024. Freeh danced with JSB for seventeen years, serving as Artistic Associate from 2007-11. She is currently a Visiting Assistant Professor at Hollins University in Roanoke, VA and Assistant Director of MFA Dance. She herself holds a master’s from Hollins where she met colleagues with whom she co-founded the long-distance performance collective TINATA. White Zinnia, Freeh’s ongoing dance/theater solo, explores her mother’s iconography and characteristics: dyslexia, left-handedness, non-linearity, Alzheimer’s, and features an abundance of blue shirts. It premiered at Minneapolis’ Candybox Dance Festival in 2024, performed at Kalamazoo’s RAD Fest February 2025, and expanded for the Eleanor D. Wilson Museum at Hollins University in October 2025. Her mother’s artworks occupied the large gallery, framing the dance, which was performed five times over the course of the 18-day exhibition.

Attabeira German de Turowski is an accomplished one-line artist known for her unique and captivating continuous line drawings. Over the years, she has refined her craft, sharing her expertise through various platforms, including online courses, books, and collaborations with well-known brands like Montblanc, Adobe, and Skillshare. Her passion for one-line art, which involves creating images with a single, uninterrupted line, has garnered her a substantial following and the opportunity to teach over 10,000 students worldwide.

Eve Schulte is a dance artist, educator, and administrator based in Minneapolis/St Paul, MN. She is currently Interim Managing Director with Ananya Dance Theatre, as well as a freelance choreographer and dancer for irregular, inspired projects. She found her professional home of 16 years at James Sewell Ballet, where she contributed as dancer, artistic associate, and executive director. She was previously a member of Live Action Set and Minnesota Dance Theatre, and was recently an Artist-in-Residence at Westminster Presbyterian Church. Eve has performed or taught internationally in five countries, nationally in 17 states, and locally in 30+ Minnesota communities. Her choreography has been featured alongside the National Lutheran Choir, Twin Cities Gay Men’s Chorus, Minnesota Opera, and Minnesota Orchestra. Eve holds a B.A. in English from the University of Minnesota, where she also leads the advanced ballet course in the Department of Theatre Arts and Dance.

Non Edwards is a dancer, choreographer, and GYROKINESIS® Method trainer based in MN since 2009. A McKnight Dancer Fellow, Non performs modern, postmodern, improvisation, and performance art. As a choreographer, Non creates situations for performers to exercise agency and audience to connect to their own bodies, often working outside of theaters and at the intersection of dance with other forms. Headshot: Joshua Filmater for Doma Dance Theater; Movement: Kameron Herndon courtesy Walker Art Center

For 25 years, Laura Selle Virtucio has maintained a vibrant performance career in the Twin Cities and toured nationally with numerous artists and companies. Laura is the recipient of a 2007 McKnight Fellowship for Dancers and a Minnesota Sage Award for Best Performer. She is a senior teaching specialist in dance at the University of Minnesota as well as the Director of University Dance Theatre.

Zadirah Moon Gallas, age 8, has received training through Children’s Theater Company, Park Square Theater and Young Dance where she is a member of their performing company. Zadirah enjoys reading, writing stories, playing with her dog and spending time with her family and friends.

Gemma Isaacson is a Minneapolis-based dance artist who began her professional career at the age of 15 with Minnesota Ballet before attending the University of Minnesota-Twin Cities (BFA Dance, summa cum laude). Throughout the course of her freelance career, Gemma has originated roles in works by notable local, national and international stage directors/ choreographers across genres, most recently including Daniel Ellis (Minnesota Opera and Utah Opera), Eric Sean Fogel (Minnesota Opera and Portland Opera), Nic Lincoln, Hannah MacKenzie-Margulies and Kerry Parker. (gemmaisaacson.com)

Erin Thompson has been a dance artist for over 50 years, receiving awards and fellowships in performance, teaching and choreography. Still active in dance at age 70, she also volunteers for the homeless as well as with the immigrant-led organization UNIDOS on climate equity. Erin thanks Penny and Eve for including her in this extraordinary cast of dancers for “Creation”.

Elinor Kleber Diggs is an interdisciplinary artist based in Harlem, New York. They are originally from Saint Paul Minnesota where they grew up training in dance at the Saint Paul Conservatory for Performing Artists and TU Dance Center.

Anat Shinar is a Minneapolis-based dancer, choreographer, visual artist, educator, curator, and Artistic Director of Young Dance. She holds a Master’s in Arts and Cultural Leadership from the University of Minnesota and a BFA in Dance and BA in Visual Arts. Her work has been presented nationally. She has served on the MN Department of Education’s Culturally Responsive Arts Education Advisory Committee, was a Naked Stages Fellow, and is a certified Hennepin County Master Gardener.

Olive Keefe is in seventh grade at Great River School and dances with the Young Dance Performing Company. In her spare time, she walks on a wire at Circus Juventas, plays the piano, takes dance classes, and goes on walks with her dog, Hazel.

Anne Lentz is a graduate of Sarah Lawrence College and a lifelong dancer who has been lucky enough to work and perform in NYC, Europe and Asia for the last 25 years. She received a Bessie Award in 2010 for Pam Tanowitz’s Be in the Gray With Me.
Text
“If the beginnings”
In the beginning was an upending
of a beginning undone to begin.
In the beginning was a transcending
of darkness with light, ascending again.
In the beginning was an attending
to fish, fowl, and fruit seeded to place
what had begun to be appalling
retold as falling, behind and from grace.
And it was so.
And so it was.
And was it so?
At the beginning renounced an ending,
the name for “beginning” contended with
when the beginning fell to portending,
a condescending that would not give in
to the beginning that found renaming
beginnings as more: intending to mend
what began as a story of rending
middle from ending, started to bend.
And it was so.
And was it so?
And so it was.
If we could fathom a garden of tending
more than defending sore borders of words
then our anthems could sing beyond tensions
compressed as expulsion, pulsing a dirge.
If this beginning grew more beginnings,
where grace allowed questions as much as faith,
what’s still falling might open to loving
as more beginnings begin to amaze.
Let it be so.
So let it be:
receding apple,
reseed tree.
— Gretchen E. Henderson (retold from the perspective of Eve)
“Silent Symphony”
Two hundred million years ago, long before we walked the Earth, it was a world of cold-blooded creatures and dull color — a kind of terrestrial sea of brown and green. There were plants, but their reproduction was a tenuous game of chance — they released their pollen into the wind, into the water, against the staggering improbability that it might reach another member of their species. No algorithm, no swipe — just chance.
But then, in the Cretaceous period, flowers appeared and carpeted the world with astonishing rapidity — because, in some poetic sense, they invented love. Once there were flowers, there were fruit — that transcendent alchemy of sunlight into sugar. Once there were fruit, plants could enlist the help of animals in a kind of trade: sweetness for a lift to a mate. Animals savored the sugars in fruit, converted them into energy and proteins, and a new world of warm-blooded mammals came alive. Without flowers, there would be no us.
No poetry.
No science.
No music.
And, suddenly, the flower emerges not as this pretty object to be admired, but as this ravishing system of aliveness — a kind of silent symphony of interconnected resilience.
“Bloom”
Bloom — is Result — to meet a Flower
And casually glance
Would cause one scarcely to suspect
The minor Circumstance
Assisting in the Bright Affair
So intricately done
Then offered as a Butterfly
To the Meridian —
To pack the Bud — oppose the Worm —
Obtain its right of Dew —
Adjust the Heat — elude the Wind —
Escape the prowling Bee
Great Nature not to disappoint
Awaiting Her that Day —
To be a Flower, is profound
Responsibility —
— Emily Dickenson
“birth”
you built a life. under ten moons, you were a house of water. you held a second heart in the arms of your rib cage, dreamed two sets of dreams. merged the rivers of your bloodlines under your skin. and then, in the early hours of a spring morning, i watched a piece of you leave, swallowed in the pain of your shattering. you broke, and the rains of new life poured out of you.
you are now the mother of that dawning ground. the guardian of its soil. the mender of its aching. the gardener of its joy. this is your work now.
you were born in your dying. you were delivered to a new life as you birthed one into existence.
you are utter magic.
building that mountain.
— Emory Hall
[Title TBD]
The baby came…a little boy, mouth opened like a little bird, a version of me, eyes closed, skin translucent.
My little boy who weighed nothing in my arms — despite the weight I had felt with him inside of me,
the weight of life,
the weight of hope,
the weight of humanity,
the gravity of my little love story —
his body was more light than anything else it could have ever been.
I looked at autumn, my favorite season, as I had never seen it before, barren, full of bold promises waiting to die.
My annual garden,
dollar-store pots
full of cheerful blooms,
my geraniums, marigolds, begonias, impatiens,
could continue living, but I didn’t want them to.
I stopped watering them.
I watched them die.
The blooms withered first,
then the leaves started drying out in the sun and the strong winds.
I thought about watering them in those final days, but my heart was so heavy I could not find the strength.
What did a few more days of bloom matter when in the end, we would all die anyway?
— Kao Kalia Yang
“What We Love?”
We are, in some deep sense, what we love — we become it as much as it
becomes us, beckoned from our myriad conscious and unconscious longings,
despairs, and patterned desires.
A love that seeks anything safe and disposable on earth is constantly
frustrated, because everything is doomed to die.
Even if things should last, human life does not. We lose it daily. As we live
the years pass through us and they wear us out into nothingness. It seems
that only the present is real, for “things past and things to come are not”;
but how can the present (which I cannot measure) be real since it has no
“space”? Life is always either no more or not yet. Like time, life “comes
from what is not yet, passes through what is without space, and disappears
into what is no longer.” Can life be said to exist at all?
— Hannah Arendt – “Love and Saint Augustine”
“Mothers”
there are millions of mothers
that live inside my chest.
i speak to them in quiet moments
under night skies
and in my dreams.
we are the keepers of a forest full of hearts.
the tenders of its fertile soil
the readers of its leaves
the guardians of its wild territory.
sometimes,
we dance together
drunk on the perfume of
a thousand blossoms of love.
sometimes,
we rub honey on our ribs,
broken from a thousand lifetimes
of heartbreak.
sometimes,
we rest
and forget the weight we carry,
just for a moment.
i meet these mothers in secret
but they teach me everything I know.
— Emory Hall
“In Any Event”
If we are fractured
we are fractured
like stars
bred to shine
in every direction,
through any dimension,
billions of years
since and hence.
I shall not lament
the human, not yet.
There is something
more to come, our hearts
a gold mine
not yet plumbed,
an uncharted sea.
Nothing is gone forever.
If we came from dust
and will return to dust
then we can find our way
into anything.
What we are capable of
is not yet known,
and I praise us now,
in advance.
–Dorianne Laux
“The Cosmos of the possible”
We live our human lives in the lacuna between truth and meaning, between objective reality and subjective sense making laced with feeling. All of our longings, all of our despairs, all of our reckonings with the perplexity of existence are aimed at one or the other. In the aiming is what we call creativity, how we contact beauty — the beauty of a theorem, the beauty of a sonnet.
— Maria Popova
“come sit by my garden”
let my gardens speak for me when i am gone. let them speak in colored whispers of all the beauty I have seen. and felt. and lived. let them speak of how much death had to find me; how many hard seasons it took to make me a living, breathing thing. let them speak of my seasons of growth and abundance, but let them also tell of my seasons of loss and decay. let the soft, wet earth be a reminder of hardness that didn’t win. of sadness that didn’t calcify. of surrender that triumphed over resistance. and let the glorious, fragrant blooms speak of my life and its greatest lesson: that the beauty we make never dies.
— Emory Hall
“Another Word for Love is Light”
If we could plant a garden of stars,
reseed the sky to unearth your
root in my pulse and breath in your
bloom, our ends might begin
to tend heavens within
cell, star, seed
loss and life. Hold this pace
in the dark. Another word for
love is light. Find light in the night.
Always let there be light.
— Gretchen Ernster Henderson
“Searching for Dark Matter”
For this we go out dark nights, searching
For the dimmest stars,
For signs of unseen things:
To weigh us down.
To stop the universe
From rushing on and on
Into its own beyond
Till it exhausts itself and lies down cold,
Its last star going out.
Whatever they turn out to be,
Let there be swarms of them,
Enough for immortality,
Always a star where we can warm ourselves.
Let there be enough to bring it back
From its own edges,
To bring us all so close we ignite
The bright spark of resurrection.
— Rebecca Elson
Instrumentation
Wind Symphony Version: TBD
Orchestra version: 1.1.1.1 / 2.2.1.1 /timp.3perc / hp / str (5-4-3-2-1)
Chamber version: 1.0.0.0 / 0.1.0.0 / timp.2perc / pn / violin solo, cello solo, double bass solo
Image Gallery








Consortium Information
Key Details
Scoring: SSAA with chamber orchestra, chamber ensemble (of 8 players), or wind symphony (3 different versions of the work)
Length: approx. 45-60 minutes
Text: Various poets, see above accordion
Delivery: The first completed version of the score will be delivered in February 2026, and a revised, final score will be delivered December 1, 2026. Projections will be delivered upon request at minimum 4 weeks before the Sponsors’ performance.
Practice Tracks: Practice tracks are included in the consortium buy-in and will be created by Composer and will be available in 2027. Sponsors may not go through a third-party to create their own tracks.
Rights
Lead commissioners have the exclusive right to give the world premieres of the Work through 2026. All other Sponsors shall have the exclusive right to give the regional premieres of the Work through 2027. Beyond that date, conductors have the non-exclusive right to program these works with the commissioning ensembles in perpetuity.
Reach out to join the consortium and receive a regional premiere of Creation in its first official season in the year 2027.
Deadline to sign up: July 31st, 2026
