Paul King, Graham Cole, & Walter Jaffe with the white bird himself, 35-year-old cockatoo Barney, in the new White Bird Offices in an area that will become the cultural hub in downtown Portland. PHOTO: Cameron Perkins Photography
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Shuaib Elhassan and Maël Amatoul of Alonzo King LINES Ballet. Photo: RJ Muna
new levels into the future. Planning for succession and ultimately a lead- ership transition is a difficult proposition to the founder of any organiza- tion. They found stability for the organization on short order. The Stan- dard, an insurance company with a major presence in the city, provided an opportunity for visible office space in one of its downtown buildings. The move from their residence to a location near their performance hubs was an essential part of activating the city’s core and in the same area where the Oregon Symphony will reimagine its own administrative space one block away at Pacific Center. In addition, they looked within the organization to promote Graham Cole as White Bird’s new executive director. Cole is a choreographer, director and producer in his own right. Born in Portland and raised in Raleigh, North Carolina, Cole spent his formative years studying at Oregon Ballet Theatre, Raleigh City Ballet, and the An Daire Academy of Irish Dance. In 2022, he was the youngest to be featured by Willamette Week as one of “25 People Shaping the Arts in Portland.” Prior to White Bird, he worked in finance and development at Gibney in New York. Any tinge of sadness for the duo was quelled at the company’s 2023 Season Opener at the Arlene Schnitzer Concert Hall where the world-re- nowned Pilobolus took to the stage for a “thank you” in dance, ending by forming a human white bird to commemorate King and Jaffe’s commit- ment to the company. On May 1, 2024, a Mayoral Proclamation declared that day “White Bird Day.” More information at: www.whitebird.org
When Paul King and Walter Jaffe came to Portland, Oregon, 25 years ago, performing arts organizations in the city were barely speaking to each other and had relied on a closed circuit of supporters woven into tight cocoons of loyalty. As White Bird hatched in the city, attitudes and a culture of mutual purpose developed as the two men began conversa- tions with other leaders which gradually fostered a spirit of togetherness and shared purpose. What they did not forsee from their own vision of developing a dance company that raised eyebrows across the national dance community scene was the result of a quarter century’s labor: one of the preeminent presenters of contemporary dance on the West Coast. Over the years, they’ve brought all the ususual suspects to Portland’s stages including Alvin Ailey American Dance Theater and Mikhail Baryshnikov’s White Oak Dance Project, they’ve also introduced exceptional talent including the debut of Jamey Hampton and Ashley Roland’s BodyVox. “As important as presenting great dance on Portland’s stages, we are dedicated to building strong connections between our dance companies and underserved populations in the Portland region,” they said. “Our annual Outreach Project with Portland Public Schools; dance workshops for students of all ages; and community gatherings in Portland’s diverse neighborhoods have provided us with the greatest satisfaction.” Starting the organization in their 40’s, both King and Jaffe realized the importance of finding a sustainable solution to keep White Bird flying to
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