Bill T. Jones

What I particularly admire about the Popular Music program is how familiar and old fashioned the objectives are, as it stresses
According to its songwriter, Michael Schumacher... "'Brisé,' written for choreographer Liz Gerring, features bits of glass
I recently saw the west coast premiere of Analogy/Dora: Tramontane by Bill T. Jones/Arnie Zane Company at Yerba Buena Center for the Arts. Here are 10 things I learned about Bill T. Jones.
Ironically, two films recently screened in San Francisco offer such radically different perspectives on Africa that their juxtaposition is worth noting. One was decidedly old school; the other a fascinating documentary about one of Africa's most controversial musicians.
Even I had to admit, as fascinated as I was about Africa, that I feared it more and had no urgent desire to visit the land in which society tells me I am a descendent of. Fear of the unknown had wiped away any desire in me that might have been fostered.
Despite naysayers from all sides, Sean Strub and his collaborators believed those of us living with HIV/AIDS deserved a magazine that offered us hope, provided us with information we needed to stay healthy and celebrated our lives by telling our stories.
The use of silence and stillness is nothing new to concert dance. It has been used for decades, often for the very purpose of subverting audience expectations. It has the power to draw our attention to our breath, to our body, and to our impulses.
I love dancers' parties. The floor's full and no one's drunk, with every style and move you can think of unleashed, celebrated, spun, from electric boogaloo to sixties go-go to glam jazz to the running man.
"Keep being powerful," Cox intones to one dancer. "Heartfelt, real, physical, physical. In your center, you're still very much alive. We can feel it."
HP: Was there a moment when you knew that the company was becoming a major force in the dance world? HP: In the press release