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"To our next...." A letter from Bill T. Jones and company
10/16/2017
Infinite Body
Jones reaches beyond this single relationship [with his nephew]–described elsewhere as “complicated”–to embrace the culture and resistance of today’s youth as they confront our violent, racist, homophobic society…and themselves.

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From Belgium, A Love Supreme
10/01/2017
DanceBeat
The creators of A Love Supreme, Salva Sanchis and Anne Teresa De Keersmaeker, warm us up in a more intimate way for what is to follow. A half hour before the performance is due to start, saxophonist Tony Jarvis and bass player Nathan Peck infiltrate NYLA’s small lobby, dueling amid those...

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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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