Program Notes - Museum of Contemporary Art Chicago

ill t. jones/arnie zane
dance company
chapel/chapter
April 9–12, 2008
mcachicago.org

ill t. jones/arnie zane
dance company
Chapel/Chapter
Bill T. Jones, Artistic Director
Jean Davidson, Executive Director
Janet Wong, Associate Artistic Director
featuring
The company
Antonio Brown as Jr. Soto
Asli Bulbul as Josephine Soto
Peter Chamberlin as The Killer
Leah Cox as Mrs. Soto
Maija Garcia as Little Girl
Shayla-Vie Jenkins as Little Girl’s Mother
LaMichael Leonard
Erick Montes as Dog and Cameron
Charles Scott as Mr. Soto and Narrator
with
Andrea Smith as Father of Little Girl
Limousine service for the Bill T. Jones/Arnie Zane Dance Company
is provided by Citi Limo.
Backstage hospitality is provided by Whole Foods Market.
Chapel/Chapter was made possible by the Bill T. Jones/Arnie Zane
Dance Company’s commissioning program, Partners in Creation,
donors: the Argosy Foundation, Abigail Congdon and Joe Azrack,
Eleanor Friedman, Ruth and Stephen Hendel, Ellen Poss, Marcia
Radosevich, and Carol H. Tolan.
Commissioning and development support was provided by
Harlem Stage/Aaron Davis Hall, Inc. for WaterWorks.
The world premiere of Chapel/Chapter was presented for the opening
season of The Gatehouse, the new facility of Harlem Stage/
Aaron Davis Hall, Inc, and adapted for proscenium stage at The
Jack H. Skirball Center for the Performing Arts, New York University,
December 2007.
Photos by Paul B. Goode
Original music composed and arranged by
Daniel Bernard Roumain (DBR), Christopher
Antonio William Lancaster, Alicia Hall
Moran, and Lawrence “Lipbone” Redding
Live music by
Christopher Antonio William Lancaster,
Jennifer Jade Ledesna, and Lawrence
“Lipbone” Redding
Presented by the Museum of Contemporary
Art with the Foundation for Dance
Promotion, Inc.

Artists Up Close
To increase appreciation of Chapel/Chapter, the MCA
organized this series of programs, creating intimate
opportunities for the community and audience members
to engage with the artists.
Master Class
Tuesday, April 8
Ruth Page Center, 1016 N. Dearborn Street
Associate Artistic Director Janet Wong led a master
class for professional and advanced student choreographers
at The Center: The Ruth Page Center
for the Arts, cohosted with DanceWorks Chicago as
part of a series of joint initiatives to advance the
art form of dance in Chicago. The Ruth Page Center,
established by international dance icon Ruth Page,
serves as a dynamic artistic and promotional engine
for Chicago’s cultural and dance communities by
providing nationally recognized dance training, performance
opportunities, and innovative collaborative
initiatives that assist Chicago’s ever-changing dance
landscape. Founded in 2007, DanceWorks Chicago
moves beyond the status quo of the traditional dancecompany
model by providing a laboratory environment
of training, mentorship, collaboration, and performance
that focuses on the development of young
professional dancers, choreographers, and audiences.
Roundtable
Saturday, April 12, 2–4 pm
Chase Studio Theater, Lookingglass Theatre Company,
821 N. Michigan Avenue
Join Bill T. Jones along with writers, dancers, and theater
practitioners for a dialogue on narrative literature
in dance. The discussion will cover Chapel/Chapter
as well as Reading, Mercy and the Artificial Nigger,
based on Flannery O’Connor’s 1995 short story, and
more, in observation of the company’s 25th anniversary
of producing signature works that examine
identity, form, and social commentary. This event
is moderated by Laura Molzahn and includes artists
from 500 Clown, Local Infinities, Plasticene, Music
Theater Workshop, Theater Oobleck, Lucky Plush
Productions, ThickRoutes, Dance COLEctive, Curious
Theatre Branch, Margaret Morris, and others.
First Night
Thursday, April 10
Following the performance, join Peter Taub, Director
of MCA Performance Programs, for a conversation
with Bill T. Jones and the company.

Chapel/Chapter (2006)
Conceived and directed by Bill T. Jones
Choreographed by Bill T. Jones with Janet Wong and
members of the company
Set design by Bjorn G. Amelan
Lighting design by Robert Wierzel
Video design by Janet Wong
Sound design by Sam Crawford
Costume design by Liz Prince
Dramaturgy by Jim Lewis
Original text by Maija Garcia, Daniel Bernard
Roumain (DBR), Charles Scott, and Andrea Smith
Child’s voice by Uchenna Enwezor
Production sta=
Bob Bursey, Production Manager
Laura Bickford, Lighting Supervisor
Kyle Maude, Production Stage Manager
Daniel A. Finney, Company Manager
Sam Crawford, Sound Supervisor
Eric Launer, Technical Director
I-Ling Liu, Apprentice Dancer
Media control software created by Matthew
Ostrowski and Peter Nigrini
Chapel/Chapter was also made possible by the Doris Duke Fund
for Dance of the National Dance Project, a program administered
by the New England Foundation for the Arts with funding from the
Doris Duke Charitable Foundation and the Ford Foundation.
Additional support for Chapel/Chapter was provided by the
American Express Company.

About the work
At this stage of his thinking, the choreographer
and director sees Chapel/Chapter as a site-specific
work, meaning that while he would ideally install the
environment in a nonconventional space, even a
conventional performing venue will be subject to
some rethinking. The goal is to create an intimate
experience between the audience and the company as
it retells three stories, two of them high-visibility
news items and one a reminiscence and confession
o=ered by a company member.
Chapel/Chapter’s spirit is conveyed through live
music, using voice (Lawrence “Lipbone” Redding)
and cello (Christopher Lancaster) to create a multilayered,
textural sound through the use of real-time
samplers and e=ects processers as well as soprano
(Alicia Hall Moran).
Bill T. Jones sees Chapel/Chapter in its present form
as the beginning of an investigation. As always,
the work proceeds from a set of questions. For Jones
the lead question might be, “How can this event
suggest the uneasy distance our mediatized era helps
create between the passive observers, which we are,
and the disturbing, sometimes incomprehensible
‘news items’ we encounter every day”
The movement vocabulary represents a serious
departure for the company. It has been generated
through highly formal means whereby the dancers
imagine their movements to be existing on invisible
keyboards that allow them to spell out terse, sometimes
ironic, truisms such as: “The road to hell is
paved in any way you like.” “The road to heaven is not
paved.” “These roads look the same so don’t get lost!”
This formal exercise results in hyperphysical, aggressively
virtuosic dance material, often held strictly
on the floor-grid drawing that suggests a nave divided
into ten equal squares and an apse.
Jones hopes the work is able to create a self-enclosed
world and a language made up of song, music, and
words (court transcripts, newspaper articles, and jailhouse
interviews) in a dialogue with a rigorous, joyful
movement vocabulary. Chapel/Chapter proceeds from
the assumption that we always live in the court of
public opinion, transgression, and judgment, and the
piece invites that notion of the real world into the
intimacy of a freely imagined contemplative space.

MCA Performance Gala
Wednesday, April 9
Featuring the
Bill T. Jones/Arnie Zane
Dance Company
Carol Prins, MCA Performance
Committee Chair
Peter Taub, MCA Director of
Performance Programs
Gala Cochairs
Pamela Crutchfield
Cheryl and Eric McKissack
Pooja and Peter Vukosavich
a note of welcome
Extraordinary performances demand to be shared. We are especially
thrilled to share tonight’s performance of Chapel/Chapter with all of you,
some of the MCA’s most generous and loyal friends. Tony Award–winning
choreographer Bill T. Jones brings us inspiring narratives through
innovative dance and music that will surely generate discussions long
after this evening’s dinner. The MCA Performance Gala would have
been impossible without the vision and dedication of cochairs Pamela
Crutchfield, Cheryl and Eric McKissack, and Pooja and Peter Vukosavich,
who provided us this opportunity to toast both the performances and
people that give our museum its creative vitality. Above all, we thank you
for your presence here tonight, which demonstrates your enthusiastic
commitment to supporting the arts. We hope you enjoy tonight’s exhilarating
performance and the celebration to follow.
Helen Zell
Chair of the Board of Trustees
Madeleine Grynsztejn
Pritzker Director

As of April 7, 2008
Evening Benefactors
Richard A. Lenon
Lyle and Shawnelle Logan
Northern Trust
Carol Prins and John H. Hart/The Jessica Fund
Helen Zell
Spotlight Patrons
Pamela Crutchfield
David Herro and Jay Franke
Mary Ittelson and Rick Tuttle
Burt and Anne Kaplan
Alfred L. McDougal and Nancy Lauter McDougal
Cheryl and Eric McKissack
Alice and John Sabl
Pooja and Peter Vukosavich
Spotlight Supporters
Katherine A. Abelson and Robert J. Cornell
Deborah A. Bricker
Doris Conant
Lester N. Coney
Amina Dickerson and Julian Roberts
Shawn Donnelley
Lois and Steve Eisen
Sandra/Zoe and Gerald Eskin
Marilyn and Larry Fields
Gale Warshauer Fischer and Ric Fischer
Gary and Denise Gardner
Terri and Stephen Geifman
Nicholas L. Giampietro/Reyes Holdings, LLC
Trudene Giesel and James Westerman
Goldberg General Contracting
Richard and Mary L. Gray
Ruth P. Horwich
Kym and Darrell Hubbard
Waldo E. Johnson, Jr.
Barbara and David Kipper
Bonnie Lipe
Jim and Kay Mabie
Susan Manning and Doug Doetsch
Maya Polsky
Stephen Pratt and Sarai Ho=man
Elizabeth Price
Desiree Rogers
Esther S. Saks
Pam She;eld
Howard and Donna Stone
Ellen Stone Belic
Marjorie and Louis Susman
John and Joan von Leesen
Richard and Diane Weinberg
Tita and Gene Ze=ren
Danielle and Martin Zimmerman
The dining experience is generously provided by
Catering
Wine for the evening is graciously provided by John Hart:
Hart Davis Hart Wine Company.
Paper for the invitation was provided by Mohawk Fine Papers and
Unisource.

About the artists
Bill T. Jones/Arnie Zane Dance Company
is currently celebrating its 25th-anniversary season.
The company was founded after 11 years of collaboration
during which Bill T. Jones and Arnie Zane
(1948–88) redefined the duet form and foreshadowed
issues of identity, form, and social commentary that
would change the face of American dance. It emerged
onto the international scene in 1983 with the world
premiere of Intuitive Momentum featuring legendary
drummer Max Roach at the Brooklyn Academy
of Music (BAM). Since then, the ten-member company
has performed worldwide in more than
200 cities in 30 countries including Australia, Brazil,
Canada, the Czech Republic, Germany, France,
Israel, Italy, Japan, Mexico, South Africa, and the UK.
Today, the Harlem-based company is recognized as
one of the most innovative and powerful forces in the
modern dance world.
The company has distinguished itself through teaching
and performing in various universities, festivals,
and under the aegis of government agencies such
as the US Information Agency (in Eastern Europe,
Asia, and Southeast Asia). Approximately 50,000 to
100,000 people see the company across the country
and around the world each year.
The work of the Bill T. Jones/Arnie Zane Dance
Company freely explores both musically driven works
as well as works using a wide variety of texts (such
as Reading, Mercy and the Artificial Nigger based on
Flannery O’Connor’s 1955 short story, “The Artificial
Nigger”). The company’s repertoire varies widely
in its subject matter; visual imagery; and stylistic
approach to movement, voice, and stagecraft. The
company has been acknowledged for its intensely
collaborative method that has included artists as
diverse as Keith Haring, the Orion String Quartet, the
Chamber Society of Lincoln Center, Cassandra
Wilson, Fado singer Misia, jazz pianist Fred Hersch,

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Ross Bleckner, Jenny Holzer, Robert Longo, Julius
Hemphill, and Peteris Vasks, among others. The
collaborations between the Bill T. Jones/Arnie Zane
Dance Company and visual artists were the subject of
Art Performs Life (1998), a groundbreaking exhibition
at the Walker Art Center in Minneapolis.
Some of the company’s most celebrated creations
are evening-length works, including Last Supper at
Uncle Tom’s Cabin/The Promised Land (premiered as
part of the Next Wave Festival at BAM, 1990); Still/
Here (premiered at the Biennale de la Danse, Lyon,
France, 1994); We Set Out Early . . . Visibility Was Poor
(premiered at Hancher Auditorium, Iowa City, 1996);
You Walk (premiered at European Capital of Culture,
Bologna, Italy, 2000); and Blind Date (premiered at
Montclair State University’s Alexander Kasser Theater,
Montclair, New Jersey, 2006). The ongoing, sitespecific
Another Evening is now in its sixth incarnation
as Another Evening: I Bow Down.
The company has also produced two performances
centered around Jones’s solo works The Breathing
Show (premiered at Hancher Auditorium, Iowa City,
1999) and As I Was Saying . . . (premiered at the
Walker Art Center’s William and Nadine McGuire
Theater, 2005).
The company has been featured in many publications,
including one of the most in-depth examinations of
Jones and Zane’s collaborations in Body Against Body:
The Dance and Other Collaborations of Bill T. Jones
and Arnie Zane (Station Hill Press, 1989), edited by
Elizabeth Zimmer.
The company has received numerous awards,
including New York Dance and Performance Awards
(Bessies) for Chapel/Chapter at Harlem Stage (2006);
The Table Project (2001); D-Man in the Waters (1989
and 2001); musical scoring and costume design
for Last Supper at Uncle Tom’s Cabin/The Promised
Land (1990); and for the 1986 Joyce Theater season.
The company was nominated for London’s Laurence
Olivier Award for Outstanding Achievement in
Dance and Best New Dance Production for We Set
Out Early . . . Visibility Was Poor (1999).
The company celebrated its landmark 20th anniversary
at BAM with 37 guest artists, including Susan
Sarandon, Cassandra Wilson, and Vernon Reid. The
Phantom Project: The 20th Season presented a diverse
repertoire of more than 15 revivals and new works.
For more information, visit billtjones.org.

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Bill T. Jones
is the recipient of a 2007 Tony Award, 2007 Obie
Award, and 2007 USA Eileen Harris Norton
Fellowship. He has also won the 2006 Stage
Directors and Choreographers Foundation
CALLAWAY Award for his choreography for Spring
Awakening, A New Musical; 2006 Lucille Lortel Award
for Outstanding Choreography for The Seven; 2005
Wexner Prize; 2005 Samuel H. Scripps American
Dance Festival Award for Lifetime Achievement;
Harlem Renaissance Award; 2003 Dorothy and
Lillian Gish Prize; and 1994 MacArthur Fellowship.
In 2000, the Dance Heritage Coalition named Jones
“An Irreplaceable Dance Treasure.” He began his
dance training at the State University of New York–
Binghamton, studying classical ballet and modern
dance. He choreographed and performed worldwide
as a soloist and as part of a duet company with his
partner Arnie Zane before forming the Bill T. Jones/
Arnie Zane Dance Company in 1982.
Having created more than 100 works for his company,
Jones has also choreographed for Alvin Ailey
American Dance Theater, Axis Dance Company,
Boston Ballet, Lyon Opera Ballet, Berlin Opera
Ballet, Dayton Contemporary Dance Company, and
Diversions Dance Company, among others. In 1995,
Jones directed and performed in a collaborative work,
Degga, with Toni Morrison and Max Roach at Alice
Tully Hall, commissioned by Lincoln Center’s Serious
Fun Festival. His collaboration with Jessye Norman,
How! Do! We! Do!, premiered at New York’s City
Center in 1999.
In 1990, Jones choreographed Sir Michael Tippet’s
New Year under the direction of Sir Peter Hall for the
Houston Grand Opera and the Glyndebourne Festival
Opera. He conceived, codirected, and choreographed
Mother of Three Sons, which was performed at the
Munich Biennale, New York City Opera, and the
Houston Grand Opera. He also directed Lost in the
Stars for the Boston Lyric Opera. Jones’s theater
involvement includes codirecting Perfect Courage with
Rhodessa Jones for Festival 2000, in 1990. In
1994, he directed Derek Walcott’s Dream on Monkey
Mountain for the Guthrie Theater in Minneapolis.
In June 2006, Jones choreographed Spring Awakening,
A New Musical with music by Grammy-nominated
singer and songwriter Duncan Sheik and directed by
Michael Mayer.
Jones’s television credits include PBS’s Great
Performances series (Fever Swamp and Last Supper at
Uncle Tom’s Cabin/The Promised Land) and Alive from
O¤ Center (Untitled). Still/Here was codirected for
television by Bill T. Jones and Gretchen Bender. “Bill
T. Jones: Still/Here with Bill Moyers,” a PBS documentary
on the making of Still/Here by Bill Moyers and

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David Grubin, premiered in 1997. The 1999 Blackside
documentary I’ll Make Me a World: A Century of
African-American Arts, profiled Jones’s work. D-Man
in the Waters is included in Free to Dance, a 2001
Emmy-winning documentary that chronicles modern
dance’s African American roots. In 2004, ARTE
France and Bel Air Media produced Bill T. Jones—
Solos, directed by Don Kent.
In 1979, Jones was granted the Creative Artists
Public Service Award in Choreography, and he received
Choreographic Fellowships from the National
Endowment for the Arts in 1980, 1981, and 1982.
Jones has been awarded several Bessie Awards for
the 1986 Joyce Theater season (along with Arnie
Zane), D-Man in the Waters (1989 and 2001),
The Table Project (2001), and The Breathing Show
(2001). Along with his collaborators Rhodessa Jones
and Idris Ackamoor, Jones received an Izzy Award
for Perfect Courage in 1990. He was honored with the
Dorothy B. Chandler Performing Arts Award for his
innovative contributions to performing arts in
1991, and in 1993, he was presented with the Dance
Magazine Award. He received another Izzy Award for
his work Fantasy in C-Major with Axis Dance Company
in 2001. Jones has received honorary doctorates from
the Art Institute of Chicago, Bard College, Columbia
College, the Juilliard School, and Swarthmore College
as well as the SUNY Binghamton Distinguished
Alumni Award.
In 1995, Pantheon Books published Jones’s memoirs
Last Night on Earth. In 1989, Station Hill Press
published an in-depth look at the work of Jones and
Zane titled Body Against Body: The Dance and Other
Collaborations of Bill T. Jones and Arnie Zane. Hyperion
Books published Dance, a children’s book written by
Jones and photographer Susan Kuklin, in 1998.
He is proud to have contributed to Continuous Replay:
The Photographs of Arnie Zane, published by MIT
Press in April 1999.
Jones’s interest in new media and digital technology
has resulted in two collaborations with the team
of Paul Kaiser, Shelley Eshkar, and Mark Downey.
The first, Ghostcatching—A Virtual Dance Installation
(1999), was produced by and premiered at the Cooper
Union in New York. The second, 22 (2004), was the
result of a three-year development under the auspices
of Arizona State University’s Institute for Studies in
the Arts and Technology in Tempe where it premiered.
Arnie Zane (1948–88)
was born in the Bronx and educated at SUNY
Binghamton. In 1971, Zane and Jones began their
long collaboration in choreography, and in 1973 they
formed the American Dance Asylum in Binghamton
with Lois Welk. Zane’s first recognition in the
arts came as a photographer when he received a
Creative Artists Public Service (CAPS) Fellowship
in 1973. Zane was the recipient of a second CAPS
Fellowship in 1981 for choreography as well as
two Choreographic Fellowships from the National
Endowment for the Arts (1983 and 1984). In 1980,
Zane received the German Critics Award with Jones
for his work Blauvelt Mountain. A duet with Jones,
Rotary Action, was filmed for television and coproduced
by WGBH Boston and Channel 4 in London.
The Alvin Ailey American Dance Theater commissioned
a new work from Zane and Jones, How to Walk
an Elephant, which premiered at Wolftrap in August
1985. Zane (along with Jones) received a 1985–86
Bessie Award for Choreographer/Creator. Continuous
Replay: The Photographs of Arnie Zane was published
by MIT Press in April 1999.

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dancers
Antonio Brown
is a native of Cleveland and began his dance training
at the Cleveland School of the Arts. He attended
The Juilliard School and graduated in spring 2007.
While there, he performed works by José Limón,
Ohad Naharin, Jirí Kylián, Eliot Feld, Aszure Barton,
Jessica Lang, and Susan Marshall. Brown joined
the company in 2007.
Asli Bulbul
is from Istanbul. After graduating from Mimar Sinan
State Conservatory in 1997, she moved to New York
where she worked with various choreographers
including Joanna Mendl Shaw and Guido Tuveri. She
was invited to spend time with Pina Baush and her
amazing dancers in 2000. Bulbul joined the company
in 2001.
Peter Chamberlin
was born in Augusta, Maine. He trained at the North
Carolina School of the Arts and BalletMet of
Columbus, Ohio, under the tutelage of Yoko Ichino.
He has performed with the Kevin Wynn Collection,
Take Dance, NOA Nelly van Bommel, and Sidra Bell
Dance New York and has been on the faculty of
Ballet International with artistic director Kazuko
Hirabayashi. He graduated from SUNY Purchase in
2007. Chamberlin joined the company in 2007.
Leah Cox
grew up in Houston. She received her dance training
from suburban dance teachers; North Carolina
School of the Arts; and Texas Christian University,
where she majored in philosophy and minored in
religion. Her current interests and influences include
W. G. Sebald, backpacking and canyoneering, Marcel
Proust, Susan Sontag, necessary movement, 24, what
is essential, J. M. Coetzee, Ashtanga yoga, Anne
Carson, John McPhee, Bonnie “Prince” Billy, and the
idea of life spread wide. Cox began working with
the company in 2001.
Maija Garcia
lives in Harlem and sends her gratitude home to
Havana; Ann Arbor; and the Bay Area, where she
graduated from the California
Institute of Integral Studies.
Producer of Organic Magnetics,
Garcia’s work as a movement
artist involves practicing yoga and
martial arts, creating dance works,
teaching, and performing. Garcia
began working with the company
in 2004.
Shayla-Vie Jenkins
began her primary dance training
at the Watson Johnson Dance
Theatre and the Mercer County
Performing Arts School in New
Jersey. In 2004, she graduated with

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honors from Fordham University under the direction
of Denise Je=erson and Ana Marie Forsythe, earning
a bachelor of fine arts with a minor in English. She
has also danced professionally with the Kevin Wynn
Collection, nathan trice/Rituals, Earl Mosely’s
Diversity of Dance, and the Francesca Harper Project.
Jenkins joined the company in 2005.
LaMichael Leonard
graduated from the New World School of the Arts
in Miami. He joined the Martha Graham Dance
Company and performed lead roles in national and
international tours. Most recently, he danced with
Buglisi Dance Theatre. Leonard joined the company
in 2007.
Erick Montes
was voted one of Dance Magazine’s 25 to Watch.
Originally from Mexico City, where he trained at
the National School of Classical and Contemporary
Dance, he began his professional career with the
Compañia Barro Rojo Arte Escenico, A-Quo Danza
Contemporanea, Aksenti, and Thania Perez-Salas.
In 2001, he received first prize in the Premio
Intercontinental INBA-UAM. In 2002, he collaborated
with choreographer Stephen Petronio on projects
sponsored by Lincoln Center Out of Doors and
Queens Theatre in the Park. He received grants in
both 2002 and 2005 through the Fondo Nacional
para la Cultura y las Artes. In 2004, Montes was
invited to participate in the Festival Mexico Now in
New York as an emerging Mexican choreographer.
In 2005, he received a grant from Aaron Davis Hall
for E-Moves. Montes joined the company in 2003.
Charles Scott
studied dance at Virginia Commonwealth University
before joining the Limón Dance Company in
2001, performing works by José Limón and Doris
Humphrey as well as those by guest choreographers
including Adam Hougland, Lar Lubovitch, Jirí Kylián,
and Donald McKayle. He has participated in
three summer residencies at The Yard on Martha’s
Vineyard, working with Patricia Nanon and guest
choreographers to present new works. Scott joined
the company in 2005.
collaborators
Bjorn G. Amelan
was the partner of the late fashion designer Patrick
Kelly from 1983 until his passing in 1990. He moved
to the United States in 1993 to begin his collaboration
with Jones, designing and creating the decor
for more than ten works and special presentations
as the company’s resident set designer. They include
We Set Out Early . . . Visibility Was Poor (1996);
Green and Blue (1997) for the Lyon Opera Ballet; You
Walk (1999); The Table Project (2000); three contrasting
designs for the Chamber Music Society of
Lincoln Center collaboration, Verbum; Black Suzanne;
and WORLDWITHOUT/IN (all 2002). In 1999 he
designed How! Do! We! Do! for Jones and Jessye
Norman in conjunction with the Lincoln Center’s
Great Performers’ New Visions series. In 2003, he
designed Jones’s narrative work Reading, Mercy and
The Artificial Nigger as well as its abstract companion
piece Mercy 10 ∞ 8 on a Circle. Amelan’s designs for
Blind Date and Another Evening: I Bow Down are in
the company’s current repertory. In 2004, he won recognition
for Memory of a Rock: First Move, his gallery
showing of bronze and stone sculptures presented at
the Dwight Hackett Gallery in Santa Fe, New Mexico,
and played a key role in organizing Patrick Kelly:
A Retrospective at the Brooklyn Museum. Amelan is
the recipient of a 2001 Bessie Award for his designs
of The Breathing Show and The Table Project.

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Laura Bickford
grew up in New York and studied at the Performing
Arts High School, Eliot Feld Ballet, and the Jo=rey Ballet.
She graduated from Smith College with a bachelor
of arts in philosophy and anthropology. Bickford has
assisted lighting designer Robert Wierzel on many
productions, including dance and opera. She has
also worked as lighting supervisor for the New York
City Opera, New York City Ballet, and Glimmerglass
Opera. She is honored to be a part of this wonderful
company, which she joined in 2004.
Bob Bursey
grew up in Roanoke, Virginia. He has worked in event
production for nine years. Past projects in the arts include
the American Dance Festival, Shen Wei Dance
Arts, David Rousseve/REALITY, and Tanztheater
Wuppertal Pina Bausch. Bursey previously worked in
concert audio and toured with rock bands. He thanks
his crew for its outstanding work. Bursey joined the
company in 2003.
Sam Crawford
completed both his associate of science degree in
audio technology and bachelor of arts in English
at Indiana University in 2003. A move to New York led
him to Looking Glass Studios where he worked on
film projects with Philip Glass and Björk. He currently
lives in Jersey City, where he works as a freelance live
sound recording engineer and plays banjo and bass
guitar in the groups Stereofan and The Goodwill
Orchestra.
Daniel A. Finney
is from Compton, California. He has managed
companies for more than ten years with regional
and touring theater and dance groups such as the
Colorado Shakespeare Festival (CSF), Hudson Valley
Shakespeare Festival (HVSF), Indiana Repertory
Theatre (IRT), Limón Dance Company, Second Stage
Theatre, and The Acting Company. He has also
worked as a carpenter, flyman, deck manager, and
stage manager with the CSF, Skylight Opera, IRT,
and Honolulu Theatre for Youth, respectively. Finney
joined the company in 2006.
Christopher Antonio William Lancaster
is a composer and performing artist living in New
York. His live and recorded music is created by the
processing of acoustic cello sound through real-time
samplers, audio e=ects, and filtering. He composes
predominately for theater and dance and for his
band The Black Sounds. His compositions have
been performed at the University of California, Irvine;
University of California, Los Angeles; University
of California, Berkeley; Kennedy Center; Biennale
De La Danse in Lyon, France; Bellevue Teatret
and Kanonhallen in Copenhagen; the Kaleidoscope
Festival and Sergio Porto in Rio de Janeiro; Dance
Theater Workshop; Symphony Space; The Duke on
42nd Street, The New Victory Theater; Tisch School of
the Arts at New York University; the Joyce and Joyce
Soho in New York; and the American Dance Festival
at Duke University. Lancaster is currently working on
commissions from Staccato Movimento, Palindrome
Inter.media, Colleen Thomas, Sean Curran, and
making videos for YouTube. He can be contacted at
ChrisLancaster@mac.com.
Eric Launer
is the head stage technician for the Skirball Center
for the Performing Arts at New York University when
he is not helping his friends at the company. In
his free time, Launer plays the electric bass and loves
playing frisbee.

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Jennifer Jade Ledesna
is a trilingual New York native. She is an alumnus
of The New School University Jazz Conservatory and
LaGuardia High School of Performing Arts. Jade
placed third in the prestigious Montreux Jazz Festival
International Voice Competition in 2007. She has
been featured on The Nueva Estrella Awards as a Latin
Idol semifinalist (CBS), France 2’s Envoye Special
Broadway documentary, and NY1 as well as in the
New York Times article “In the South Bronx, the Arts
Beckon.” She has toured nationally with Theatreworks
USA (Corduroy) and has performed at the Salvador
Dali Jazz Festival (BR); the US-Brazilian Consulate;
Fête de la Musique, Paris; and Lincoln Center’s
Kaplan Penthouse. Some of her favorite roles include
Dorothy (The Wiz), Marta (Company), Julie Jordan
(Carousel), and Maria (West Side Story). She has also
had the grand privilege of performing with Reggie
Workman, Candido Camero, Junior Mance, Dave
Valentin, Eric Lewis, Wycli=e Gordon, Sekou Sundiata,
and Wynton Marsalis, among others.
Jim Lewis
received Tony and Drama Desk nominations in the
Best Book for a Musical category for Chronicle of
a Death Foretold (Broadway, 1995). He worked with
Graciela Daniele on Dangerous Games (Broadway,
1990) and Tango Apaisionado (Westbeth, 1988).
He conceived and wrote the libretto for Ballet
Hispanico’s Nightclub along with titles and narration
for Philip Glass’s Les Enfants Terribles. His translations
include Eugène Ionesco’s The Chairs and
Henrik Ibsen’s Lady from the Sea. He has been the
production dramaturg for White Oak Dance Project’s
PastFORWARD with Mikhail Baryshnikov; Anna
Deavere Smith’s House Arrest; Jones’s Dream on
Monkey Mountain; the WOZA AFRIKA Festival at
Lincoln Center; and the Obie-winning revival
of Harley Granville-Barker’s Waste and William
Shakespeare’s Cymbeline with director Bartlett Sher.
Lewis was program director at the American Center
in Paris and Resident Dramaturg at The Guthrie,
Second Stage Theatre, and INTAR Hispanic-American
Theater. He is an ongoing collaborator with numerous
theater and dance companies, including The
Civilians; Jane Comfort; Shapiro and Smith; and the
Bill T. Jones/Arnie Zane Dance Company, with
which he helped re-imagine Still/Here for its 20thanniversary
production of The Phantom Project at
BAM. Lewis recently wrote the libretto for The Tyrant,
a new opera by composer Paul Dresher and sung by
John Duykers, which toured nationally in 2006–07
and appeared at the MCA in 2008. Lewis is currently
at work on two commissions: a new play about the
Evangelical Christian community in Colorado with
The Civilians (premiered February 2007) and a new
musical with Jones about the Nigerian superstar and
political activist Fela Kuti.
Kyle Maude
has worked with Ballet Tech (formerly the Eliot Feld
Ballet), The Royal Ballet School of London, Buglisi-
Foreman Dance, and Lesbian Pulp-o-Rama! Maude
joined the company in 2003.
Alicia Hall Moran
holds degrees in music and anthropology from
Barnard College and a degree in vocal performance
from Manhattan School of Music. In both concert
and cabaret, she has appeared in lead performances
at the Kennedy Center, Stamford Center for the
Performing Arts, Cathedral of St. John the Divine,
Cafe Sebarsky, and St. Paul’s Chapel. Past roles
include Mozart’s Donna Anna under the guidance
of Martina Arroyo; soprano in Rough Crossings, a
recent collaboration with historian Simon Schama at
Symphony Space; and Marian Anderson in Things of
the Heart at Bermuda International Arts Festival.

18
She sings on the track “Milestone” in the 2006 Blue
Note Records release Artist In Residence, which her
husband, pianist Jason Moran composed for their
Walker Art Center commission. Moran currently studies
in the studio of opera legend Shirley Verrett.
Liz Prince
has worked extensively with Jones since 1990 designing
for his company as well as his productions
for the Boston Ballet, Berlin Opera Ballet, and Alvin
Ailey American Dance Theater. She recently designed
costumes for Goodspeed Musicals’ version of
Pippin, directed by Gabriel Barre. Other work includes
designs for Doug Varone (Doug Varone and
Dancers, José Limón Dance Company, and Dayton
Contemporary Dance Company), Trey McIntyre
(American Ballet Theater, Washington Ballet,
Pennsylvania Ballet, PHILADANCO, and Houston
Ballet), Mark Dendy (Dendy Dance, Pacific Northwest
Ballet, and Dortmund Theater Ballet), Mikhail
Baryshnikov’s White Oak Dance Project (Meg Stuart
and Lucy Guerin), Tamar Rogo= (Claire Danes),
PILOBOLUS, Neil Greenberg, Jane Comfort, Bebe
Miller, Ralph Lemon, Arthur Aviles, Larry Goldhuber,
David Dorfman, and LAVA. Her costumes have
been exhibited at the New York Public Library for the
Performing Arts, Cleveland Center for Contemporary
Art, and the Snug Harbor Cultural Center. Prince
received a 1990 Bessie Award for Costume Design.
Lawrence “Lipbone” Redding
is a multifaceted vocal artist, band leader, songwriter,
and instrumentalist who has made a career of blending
and bending sounds and styles with the recurring
theme of connectedness. Having performed in a
variety of venues, including Lincoln Center, many jazz
clubs, and the New York City subway, “Lipbone” lives
by the notion that the true self never changes, why
not try new things The “Lipbone” Redding Orchestra,
a three-piece band that makes wide use of the vocal
instrument, can be heard weekly in New York at Jules’
Jazz Bistro. Redding thanks the dancers, musicians,
sta=, and Jones for making the challenge of Chapel/
Chapter an inspired experience and a lesson in optimism,
faith, and perseverance. For more information
about the music of “Lipbone” Redding, visit
lipbone.com
Daniel Bernard Roumain (DBR)
is a composer, performer, violinist, and bandleader
who seamlessly blends funk, rock, hip-hop, and classical
music into a new sonic vision that is “far out
and creative in another world.” He’s been dubbed
a Classical Urban Ambassador for the next generation
by Seven Days. Voted #3 Best Classical Moment
of 2003 by the New York Times and raved by critics
from classical and popular music fields alike, DBR
has collaborated with Philip Glass, Ryuichi Sakamoto,
Savion Glover, Vernon Reid, DJ Radar, DJ Spooky,
DJ Scientific, Susan Sarandon, Cassandra Wilson,
and an array of orchestras and chamber ensembles.
The Dallas, Memphis, San Antonio, and St. Louis
orchestras have performed or commissioned his
works, and as Assistant Composer-in-Residence of
the Orchestra of St. Luke’s, he regularly collaborates
with the OSL. As Artist-in-Residence at Arizona State
University, DBR premiered ROCKESTRA: A Hip Hop
Music and Dance Party featuring DJ Radar, and returned
to collaborate and perform with Philip Glass in
SEEN AND HEARD: Philip Glass and Daniel Roumain
Together on Screen, Stage and in Sound. His ninemember
band DBR & THE MISSION presents lively,
genre-jumping contemporary music that captures
varied audiences nationwide. His 24 Bits: Hip-Hop
Studies and Études was highlighted at the group’s
sold-out performance at Joe’s Pub, receiving critical
acclaim: “true to form, these vary greatly in style,
from slow, introspective Neo-Classical ruminations

19
to rhythmically complicated, ri=y pieces that would
not be out of place in a dance club” (New York Times).
For more information, visit dbrmusic.com.
Andrea Smith
studied theater at the North Carolina School of the
Arts and at the American Academy of Dramatic Arts,
New York. He made his professional debut in 1989
in the title role of the company’s Last Supper at Uncle
Tom’s Cabin/The Promised Land. Other works with
Jones include Mother of Three Sons, Lost in the Stars,
Dream on Monkey Mountain, Continuous Replay, and
this season’s Another Evening: I Bow Down and Blind
Date. Smith has also danced with choreographers
such as David Gordon, David Rouseve, and Thierry
Smits. His theatrical credits include performances at
Lincoln Center, the National Black Theater, the North
Carolina Shakespeare Festival, the New York City
Opera, and The Public Theater.
Robert Wierzel
has worked with artists from diverse disciplines and
backgrounds in theater, dance, new music, opera,
and museums, and on stages throughout the country
and abroad. He has a 21-year history with Jones and
the company. A selection of his many projects with
the company include Blind Date; Another Evening:
I Bow Down; Still/Here; We Set Out Early . . . Visibility
Was Poor; You Walk; Last Supper at Uncle Tom’s
Cabin/The Promised Land; and How to Walk an
Elephant. Other works with Jones include projects
at the Guthrie Theatre, Lyon Opera Ballet, Deutsche
Opera Ballet (Berlin), Boston Ballet, Boston Lyric
Opera, the Welsh dance company Diversions, and
London’s Contemporary Dance Trust. Wierzel has
also collaborated with choreographers Trisha Brown,
Doug Varone, Donna Uchizono, Larry Goldhuber,
Heidi Latsky, Sean Curran, Molissa Fenely, Susan
Marshall, Margo Sappington, Alonzo King, and
Joann Fregalette-Jansen. He has worked with opera
companies in Paris (Garnier); Tokyo; Seattle; Toronto;
Montreal; Vancouver; San Francisco; Boston; San
Diego; Houston; Washington; Minnesota; Virginia;
Miami; Portland; Omaha; and Chicago as well
as with Glimmerglass Opera and New York City
Opera. Other credits include David Copperfield’s
Dreams and Nightmares on Broadway and American
Conservatory Theater; Arena Stage; The Shakespeare
Theatre Washington, D.C.; Hartford Stage; Long
Wharf Theatre; Goodman Theatre; the Guthrie; Mark
Taper Forum; Berkeley Repertory Theatre; Milwaukee
Repertory Theater; Chicago Shakespeare Theater;
and Westport Country Playhouse; among many
others. Wierzel is currently on the faculty of New York
University’s Tisch School of the Arts.
Janet Wong
was born in Hong Kong and trained there as well as
in London. After graduation, she joined the Berlin
Ballet where she first met Jones when he was invited
to choreograph for the company. In 1993, she moved
to New York to pursue other interests. She became
Rehearsal Director of the company in 1996 and
Associate Artistic Director in August 2006. In 2004,
she began video work. Wong thanks Peter Nigrini,
Bob Bursey, Ben Keightley, and Larry Goldhuber for
their help in the process of creating the video.

20
Bill T. Jones/Arnie Zane Dance Company
Bill T. Jones, Artistic Director
Jean Davidson, Executive Director
Janet Wong, Associate Artistic Director
Board of Directors
Derek Brown, Chairman
Bill T. Jones, President
Bjorn G. Amelan, Vice-Chairman
Daniel Nissenbaum, Treasurer
Terence Dougherty, Secretary
Jean Davidson, Ex-Oªcio
Sandra/Zoe Eskin
Stephen Hendel
Dr. Michael Lomax
Shola Olatoye
Cindy Sherman
Gloria Steinem
Jack Taylor
Carol H. Tolan
Ric Wanetik
Advisory Committee
Deborah W. Brooks
Jenette Kahn
Naima Kradjian
Jeremy J. Nobel
Kweli Washington
Edward M. Zimmerman
Chairs Emeritus
Eric Anderson
Eleanor Friedman
Artistic Sta¤
Bjorn G. Amelan, Creative Director
Liz Prince, Resident Costume Designer
Robert Wierzel, Resident Lighting Designer
Bill Katz, Artistic Consultant
Production Sta¤
Bob Bursey, Production Manager
Laura Bickford, Lighting Supervisor
Kyle Maude, Production Stage Manager
Daniel A. Finney, Company Manager
Sam Crawford, Sound Supervisor
Eric Launer, Technical Director
Tavia Odinak, Production Intern
Administrative Sta¤
Dona Lee Kelly, Director of Development and
External Relations
David Archuletta, Program Director
J. J. Lind, Development Associate, Institutional Giving
Michelle Preston, Development Associate,
Individual Giving
Claire Cholak, Administrative Assistant
Daniel Wiener, Webmaster
Real Design, Identity Design Concept
Ellen Jacobs Associates, Press Representation
Beyond the Bottom Line, Accounting Firm

22
The Bill T. Jones/Arnie Zane Dance Company expresses
deep appreciation to the following individuals,
foundations, corporations, and government
agencies whose contributions sustain our organization.
Although space limits the listing of all gifts,
the company wishes to thank each and every donor.
Gifts from July 1, 2006–July 13, 2007
Institutional Funders
Altria Group, Inc.
American Express Company
American Music Center
Argosy Foundation
Bloomberg
Carnegie Corporation of New York
Chase
Robert Sterling Clark Foundation
Creative Artists Agency
Maxine & Stuart Frankel Foundation
The Florence Gould Foundation
The Harkness Foundation for Dance
HSBC Bank USA, N.A.
IMG Artists
The Andrew W. Mellon Foundation
Mid-Atlantic Arts Foundation
Multi-Arts Production Fund/The Rockefeller Fund
National Endowment for the Arts
New England Foundation for the Arts –
National Dance Project
New York City Department of Cultural A=airs
The New York Community Trust –
Carol H. Tolan Fund
New York State Council on the Arts
New York State Music Fund
Rudolf Nureyev Dance Foundation
The Jerome Robbins Foundation
Rockefeller Brothers Fund
The Rockefeller Foundation Cultural Innovation Fund
The Fan Fox & Leslie R. Samuels Foundation
The San Francisco Foundation
The Susan Stein Shiva Foundation
The Shubert Foundation
Starry Night Fund of Tides Foundation
Time Warner Inc.
Upper Manhattan Empowerment Zone
Urban Green Builders
In-Kind Donors
East Village Wines
Eisner LLP
Hamilton, Rabinovitz & Alschuler, Inc.
Roche Janken
Lowenstein Sandler PC
Department of Sanitation/NYC
Department of Education
Materials for the Arts, NYC Department of
Cultural A=airs/NYC
Sydnie Mosley
Real Design
Samantha Stone
Urban Green Builders
Daniel Wiener
Partners in Creation
New works commissioning program
Argosy Foundation
Abigail Congdon and Joseph Azrack
Eleanor Friedman
Ruth and Stephen Hendel
Ellen Poss
Marcia Radosevich
Carol H. Tolan

23
Chairman’s Circle ($100,000+)
Ellen Poss
Carol H. Tolan
Producer’s Circle ($50,000–99,999)
Abigail Congdon and Joseph Azrack
Eleanor Friedman
Jack and Kristalina Taylor
Leadership Circle ($25,000–49,000)
Phyllis K. Friedman
Ruth and Stephen Hendel
Marcia J. Radosevich
Jane and Terry Semel
Patron’s Circle ($10,000–24,999)
Eric Anderson – In Memory of R. C. Anderson
Gilbert Brownstone
Sandra/Zoe and Gerald Eskin
Suzanne Toor Karpas and Irving D. Karpas, Jr.
Benefactor ($5,000–9,999)
Bjorn Amelan and Bill T. Jones
Derek Brown and Deborah Hellman –
In Memory of Alice Huei-Zu Yang
Betty Freeman
James C. Hormel and Timothy C. Wu
Daniel A. Nissenbaum
William Traylor
Ric Wanetik and David Hagans
Corporate Friends ($2,500–4,999)
Gotham Acupuncture
Sponsor ($1,000–2,499)
Julie Bacon and Luther Peacock
Rebecca Cooper
Alexandra Corbin and Lawrence S. Mondschein
Sage and John Cowles
Jean Davidson
Jill and Tom Delbanco
Elisabeth and Jim DeMarse
Terence Dougherty
Muna El Fituri
Susan L. Foster
Alicia Glen and Daniel Rayner
Marcia and John Goldman
Sharna Goldseker and Simon Greer
Carole and Ira D. Hall
Jenny Holzer and Mike Glier
Hedy and Kent Klineman
Naima and Ara Kradjian
Emily Fisher Landau
Suzanne and Robert Levine
Phyllis and Harvey Lichtenstein
Dr. Michael L. Lomax
Jimena Martinez and Michael Hirschhorn
Nancy Meyer and Marc Weiss
Judith D. and Samuel P. Peabody
Amelie Ratli=
Nadine and Murray Rubin
Ruby Shang
Cindy Sherman
Gil Shiva
Ellynne C. Skove
Billie Tsien and Tod Williams
Founding Friends
We wish to thank these generous donors who supported
the remarkable turnaround of the company
(1999–2004).
Abigail S. Congdon and Joseph F. Azrack
Jonathan Cohen
Sage and John Cowles
Barbara and Eric Dobkin
Catherine S. England
Sandra/Zoe and Gerald Eskin
Betty Freeman

24
Paulette J. Meyer and David A. Friedman
Eleanor Friedman
Phyllis K. Friedman
Bjorn Amelan and Bill T. Jones
Suzanne Toor Karpas and Irving D. Karpas, Jr.
Renate Graf and Anselm Kiefer
Kristina Kiehl and Robert Friedman
Hedy and Kent Klineman
Gyongy Laky and Thomas Layton
Melissa and Brad Meyer
Jeremy J. Nobel, MD
Jonathan Otto
Ellen Poss
Marcia J. Radosevich
Jane and Terry Semel
Linda Grass Shapiro
Julia Reid Summers
Jack Taylor
Carol H. Tolan
Betsy and Edward Zimmerman
Bill T. Jones/Arnie Zane Dance Company
Foundation for Dance Promotion, Inc.
27 W. 120th Street, #1
New York, N.Y. 10027
P: 212.426.6655
F: 212.426.5883
billtjones.org
Bill T. Jones/Arnie Zane Dance Company is
presented by arrangement through:
IMG Artists
Carnegie Hall Tower
152 W. 57th Street, 5th floor
New York, N.Y. 10019
P: 212.994.3500
F: 212.994.3550
European representation of Bill T. Jones/Arnie Zane
Dance Company by:
Gillian Newson Arts Consultancy
(in association with IMG Artists/North America)
P: 011 44 20 7622 8549
F: 011 44 20 7498 1922
E: gnewson@hotmail.com
Lead 2007/2008 season support for the
Bill T. Jones/Arnie Zane Dance Company is funded
in part by Chase; The Carnegie Corporation;
Andrew W. Mellon Foundation; Rockefeller Brothers
Fund; The Rockefeller Foundation; The National
Endowment for the Arts; New York City Department
of Cultural A=airs; and the Upper Manhattan
Empowerment Zone.