News

 
European Choreographers Translate John Coltrane’s Classic “A Love Supreme” Into a Dance Gem
09/29/2017
The Village Voice
John Coltrane recorded A Love Supreme in a New Jersey studio with Elvin Jones, McCoy Tyner, and Jimmy Garrison in 1965. Forty years later, Belgian dance artist Anne Teresa de Keersmaeker entered her space in Brussels and went to work translating this jazz masterpiece into choreography for another quartet. Alongside her was...

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Anne Teresa De Keersmaeker/ Rosas with Salva Sanchis – A Love Supreme
09/29/2017
DanceTabs
Oh, Anne Teresa De Keersmaeker. What other choreographer can so doggedly drive a viewer to the verge of despair and then, almost casually, throw open the doors to ecstasy, all within the span of an hour? The Belgian choreographer certainly has a perverse streak, whether she is forcing the audience...

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Review: Spinning and Toiling, but Not Finding Coltrane's Sacred Love
09/28/2017
The New York Times
It probably doesn’t make sense to call a work of art perfect, but for “A Love Supreme,” John Coltrane’s four-part musical masterpiece recorded in 1964, the word sacred feels true and right. It’s an offering, one that seems more invincible and raw with each hearing.

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Coltrane by De Keersmaeker, Freewheeling but Structure Intact
09/26/2017
The New York TImes
PARIS — Cerebral. Formal. Rigorously patterned and structured. These are some ways to describe the choreography of Anne Teresa De Keersmaeker, who has been creating work to often-challenging scores since her first solo in 1980. But those descriptions don’t suit “A Love Supreme,” a celebration of John...

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"Still/Here" Turns AIDS Into Art
09/13/2017
Out Magazine
In the early 1980s, Bill T. Jones emerged as an exciting young choreographer who deftly bridged modern and post-modernist dance by mixing elegant physicality with unfussy aesthetics and pedestrian movement. As he was a black man dancing with his white, Jewish partner Arnie Zane, politics of race and sexuality were an...

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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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