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"Analogy/Ambros: The Emigrant" at ADF
08/02/2017
INDY Week
If the American Dance Festival performance of Analogy/Ambros: The Emigrant didn’t fully illustrate director Bill T. Jones’s hunger for such an artistic fusion in the service of text and storytelling, the postshow talkback left no doubt.

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Bill T. Jones’ trilogy ends ADF season on a rare note
07/30/2017
The News & Observer | NewsObserver.com
Once again, Bill T. Jones and his “crew” of collaborators create a compelling, multimedia production – the third and last part of his “Analogy Trilogy: Ambros: The Emigrant.” The world premiere, before a large and attentive Durham Performing Arts Center audience on Saturday, marked the last performance in the American...

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Dance Inspired by ‘A Love Supreme’ to Open New York Live Arts Season
06/30/2017
The New York Times
Anne Teresa De Keersmaeker, the cerebral Belgian choreographer, will return to New York this fall to open the coming season at New York Live Arts, the performing arts center in Chelsea announced on Friday. The season’s programming will be framed around a theme, “Creating in Confusing Time,” and...

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The Elegant Legacy of Bill T. Jones
05/04/2017
The Advocate
There are few men as accomplished as choreographer, dancer, and artistic director Bill T. Jones, who cofounded the Bill T. Jones/Arnie Zane Dance Company with his late partner in 1982. A double Tony winner (choreography for Fela! and Spring Awakening), Jones garnered a MacArthur Genius Award and, in 2014, a National Medal of Arts. He’s...

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Review: Okwui Okpokwasili Gives Voice to the Ignored and Oppressed
04/25/2017
The New York Times
Okwui Okpokwasili’s “Poor People’s TV Room” is as dense and delicate as a centuries-old tapestry. It can be oblique, but it’s also alive as it drifts through myriad subjects to conjure a surreal, imaginary place where, you get the distinct feeling, women have long been oppressed and ignored, or worse:...

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An Artist Who Blurs Bodies and Genres in Protest
04/14/2017
The New York Times
When Okwui Okpokwasili talks about her work, she treats each question like a knot to be unraveled, physically as much as verbally. Emphatic gestures punctuate her sentences, or complete them, as if movement might summon the answer.

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Divining the Shadows Okwui Okpokwasili’s Poor People’s TV Room
04/01/2017
The Brooklyn Rail
As of this writing, the writer, performer, and choreographer Okwui Okpokwasili is entering the final phase of Poor People’s TV Room, the multidisciplinary (and multisensory) performance she is creating in closely-knit partnership with her collaborator Peter Born. Three years in the making, this month’s premiere also represents the culmination of...

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A Dance Troupe Adds Fresh Faces. The Youngest Is 66.
03/28/2017
New York Times
“Keep the arms heavy, feel the weight of the step,” the choreographer Larissa Velez-Jackson called to her performers, a group of women ages 66 to 87, as they practiced walking like runway models in a studio at New York Live Arts. Every few steps, they paused as if posing for...

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Justin Vivian Bond's LIVE IDEAS Series 'Mx'd Messages' Reimagines a World Without Binaries
03/14/2017
OUT Magazine
Running this week is New York Live Arts’ 2017 LIVE IDEAS festival, which features a series called “Mx’d Messages,” curated by queer icon and trans-genre artist Justin Vivian Bond. The event includes panels, workshops, keynotes, installations and performances from global LGBTQ artists including Hari Nef, Macy Rodman, Kate Bornstein...

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Review: ‘xgzdiiiiiicdiirrwjfffffffff (pronounced grief).’ Not a Typo.
11/18/2016
The New York Times
About 15 minutes into Gillian Walsh’s latest work, in the dim light of a studio at New York Live Arts on Thursday, I had a minor epiphany. The text that the performers were reading sounded familiar. Had I read it on Facebook? Could that be right?

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