Program Notes - Museum of Contemporary Art Chicago
Program Notes - Museum of Contemporary Art Chicago
Program Notes - Museum of Contemporary Art Chicago
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ill t. jones/arnie zane<br />
dance company<br />
chapel/chapter<br />
April 9–12, 2008<br />
mcachicago.org
ill t. jones/arnie zane<br />
dance company<br />
Chapel/Chapter<br />
Bill T. Jones, <strong>Art</strong>istic Director<br />
Jean Davidson, Executive Director<br />
Janet Wong, Associate <strong>Art</strong>istic Director<br />
featuring<br />
The company<br />
Antonio Brown as Jr. Soto<br />
Asli Bulbul as Josephine Soto<br />
Peter Chamberlin as The Killer<br />
Leah Cox as Mrs. Soto<br />
Maija Garcia as Little Girl<br />
Shayla-Vie Jenkins as Little Girl’s Mother<br />
LaMichael Leonard<br />
Erick Montes as Dog and Cameron<br />
Charles Scott as Mr. Soto and Narrator<br />
with<br />
Andrea Smith as Father <strong>of</strong> Little Girl<br />
Limousine service for the Bill T. Jones/Arnie Zane Dance Company<br />
is provided by Citi Limo.<br />
Backstage hospitality is provided by Whole Foods Market.<br />
Chapel/Chapter was made possible by the Bill T. Jones/Arnie Zane<br />
Dance Company’s commissioning program, Partners in Creation,<br />
donors: the Argosy Foundation, Abigail Congdon and Joe Azrack,<br />
Eleanor Friedman, Ruth and Stephen Hendel, Ellen Poss, Marcia<br />
Radosevich, and Carol H. Tolan.<br />
Commissioning and development support was provided by<br />
Harlem Stage/Aaron Davis Hall, Inc. for WaterWorks.<br />
The world premiere <strong>of</strong> Chapel/Chapter was presented for the opening<br />
season <strong>of</strong> The Gatehouse, the new facility <strong>of</strong> Harlem Stage/<br />
Aaron Davis Hall, Inc, and adapted for proscenium stage at The<br />
Jack H. Skirball Center for the Performing <strong>Art</strong>s, New York University,<br />
December 2007.<br />
Photos by Paul B. Goode<br />
Original music composed and arranged by<br />
Daniel Bernard Roumain (DBR), Christopher<br />
Antonio William Lancaster, Alicia Hall<br />
Moran, and Lawrence “Lipbone” Redding<br />
Live music by<br />
Christopher Antonio William Lancaster,<br />
Jennifer Jade Ledesna, and Lawrence<br />
“Lipbone” Redding<br />
Presented by the <strong>Museum</strong> <strong>of</strong> <strong>Contemporary</strong><br />
<strong>Art</strong> with the Foundation for Dance<br />
Promotion, Inc.
<strong>Art</strong>ists Up Close<br />
<br />
To increase appreciation <strong>of</strong> Chapel/Chapter, the MCA<br />
organized this series <strong>of</strong> programs, creating intimate<br />
opportunities for the community and audience members<br />
to engage with the artists.<br />
Master Class<br />
Tuesday, April 8<br />
Ruth Page Center, 1016 N. Dearborn Street<br />
Associate <strong>Art</strong>istic Director Janet Wong led a master<br />
class for pr<strong>of</strong>essional and advanced student choreographers<br />
at The Center: The Ruth Page Center<br />
for the <strong>Art</strong>s, cohosted with DanceWorks <strong>Chicago</strong> as<br />
part <strong>of</strong> a series <strong>of</strong> joint initiatives to advance the<br />
art form <strong>of</strong> dance in <strong>Chicago</strong>. The Ruth Page Center,<br />
established by international dance icon Ruth Page,<br />
serves as a dynamic artistic and promotional engine<br />
for <strong>Chicago</strong>’s cultural and dance communities by<br />
providing nationally recognized dance training, performance<br />
opportunities, and innovative collaborative<br />
initiatives that assist <strong>Chicago</strong>’s ever-changing dance<br />
landscape. Founded in 2007, DanceWorks <strong>Chicago</strong><br />
moves beyond the status quo <strong>of</strong> the traditional dancecompany<br />
model by providing a laboratory environment<br />
<strong>of</strong> training, mentorship, collaboration, and performance<br />
that focuses on the development <strong>of</strong> young<br />
pr<strong>of</strong>essional dancers, choreographers, and audiences.<br />
Roundtable<br />
Saturday, April 12, 2–4 pm<br />
Chase Studio Theater, Lookingglass Theatre Company,<br />
821 N. Michigan Avenue<br />
Join Bill T. Jones along with writers, dancers, and theater<br />
practitioners for a dialogue on narrative literature<br />
in dance. The discussion will cover Chapel/Chapter<br />
as well as Reading, Mercy and the <strong>Art</strong>ificial Nigger,<br />
based on Flannery O’Connor’s 1995 short story, and<br />
more, in observation <strong>of</strong> the company’s 25th anniversary<br />
<strong>of</strong> producing signature works that examine<br />
identity, form, and social commentary. This event<br />
is moderated by Laura Molzahn and includes artists<br />
from 500 Clown, Local Infinities, Plasticene, Music<br />
Theater Workshop, Theater Oobleck, Lucky Plush<br />
Productions, ThickRoutes, Dance COLEctive, Curious<br />
Theatre Branch, Margaret Morris, and others.<br />
First Night<br />
Thursday, April 10<br />
Following the performance, join Peter Taub, Director<br />
<strong>of</strong> MCA Performance <strong>Program</strong>s, for a conversation<br />
with Bill T. Jones and the company.
Chapel/Chapter (2006)<br />
Conceived and directed by Bill T. Jones<br />
Choreographed by Bill T. Jones with Janet Wong and<br />
members <strong>of</strong> the company<br />
Set design by Bjorn G. Amelan<br />
Lighting design by Robert Wierzel<br />
Video design by Janet Wong<br />
Sound design by Sam Crawford<br />
Costume design by Liz Prince<br />
Dramaturgy by Jim Lewis<br />
Original text by Maija Garcia, Daniel Bernard<br />
Roumain (DBR), Charles Scott, and Andrea Smith<br />
Child’s voice by Uchenna Enwezor<br />
Production sta=<br />
Bob Bursey, Production Manager<br />
Laura Bickford, Lighting Supervisor<br />
Kyle Maude, Production Stage Manager<br />
Daniel A. Finney, Company Manager<br />
Sam Crawford, Sound Supervisor<br />
Eric Launer, Technical Director<br />
I-Ling Liu, Apprentice Dancer<br />
Media control s<strong>of</strong>tware created by Matthew<br />
Ostrowski and Peter Nigrini<br />
Chapel/Chapter was also made possible by the Doris Duke Fund<br />
for Dance <strong>of</strong> the National Dance Project, a program administered<br />
by the New England Foundation for the <strong>Art</strong>s with funding from the<br />
Doris Duke Charitable Foundation and the Ford Foundation.<br />
Additional support for Chapel/Chapter was provided by the<br />
American Express Company.
About the work<br />
<br />
At this stage <strong>of</strong> his thinking, the choreographer<br />
and director sees Chapel/Chapter as a site-specific<br />
work, meaning that while he would ideally install the<br />
environment in a nonconventional space, even a<br />
conventional performing venue will be subject to<br />
some rethinking. The goal is to create an intimate<br />
experience between the audience and the company as<br />
it retells three stories, two <strong>of</strong> them high-visibility<br />
news items and one a reminiscence and confession<br />
o=ered by a company member.<br />
Chapel/Chapter’s spirit is conveyed through live<br />
music, using voice (Lawrence “Lipbone” Redding)<br />
and cello (Christopher Lancaster) to create a multilayered,<br />
textural sound through the use <strong>of</strong> real-time<br />
samplers and e=ects processers as well as soprano<br />
(Alicia Hall Moran).<br />
Bill T. Jones sees Chapel/Chapter in its present form<br />
as the beginning <strong>of</strong> an investigation. As always,<br />
the work proceeds from a set <strong>of</strong> questions. For Jones<br />
the lead question might be, “How can this event<br />
suggest the uneasy distance our mediatized era helps<br />
create between the passive observers, which we are,<br />
and the disturbing, sometimes incomprehensible<br />
‘news items’ we encounter every day”<br />
The movement vocabulary represents a serious<br />
departure for the company. It has been generated<br />
through highly formal means whereby the dancers<br />
imagine their movements to be existing on invisible<br />
keyboards that allow them to spell out terse, sometimes<br />
ironic, truisms such as: “The road to hell is<br />
paved in any way you like.” “The road to heaven is not<br />
paved.” “These roads look the same so don’t get lost!”<br />
This formal exercise results in hyperphysical, aggressively<br />
virtuosic dance material, <strong>of</strong>ten held strictly<br />
on the floor-grid drawing that suggests a nave divided<br />
into ten equal squares and an apse.<br />
Jones hopes the work is able to create a self-enclosed<br />
world and a language made up <strong>of</strong> song, music, and<br />
words (court transcripts, newspaper articles, and jailhouse<br />
interviews) in a dialogue with a rigorous, joyful<br />
movement vocabulary. Chapel/Chapter proceeds from<br />
the assumption that we always live in the court <strong>of</strong><br />
public opinion, transgression, and judgment, and the<br />
piece invites that notion <strong>of</strong> the real world into the<br />
intimacy <strong>of</strong> a freely imagined contemplative space.
MCA Performance Gala<br />
Wednesday, April 9<br />
Featuring the<br />
Bill T. Jones/Arnie Zane<br />
Dance Company<br />
Carol Prins, MCA Performance<br />
Committee Chair<br />
Peter Taub, MCA Director <strong>of</strong><br />
Performance <strong>Program</strong>s<br />
Gala Cochairs<br />
Pamela Crutchfield<br />
Cheryl and Eric McKissack<br />
Pooja and Peter Vukosavich<br />
a note <strong>of</strong> welcome<br />
Extraordinary performances demand to be shared. We are especially<br />
thrilled to share tonight’s performance <strong>of</strong> Chapel/Chapter with all <strong>of</strong> you,<br />
some <strong>of</strong> the MCA’s most generous and loyal friends. Tony Award–winning<br />
choreographer Bill T. Jones brings us inspiring narratives through<br />
innovative dance and music that will surely generate discussions long<br />
after this evening’s dinner. The MCA Performance Gala would have<br />
been impossible without the vision and dedication <strong>of</strong> cochairs Pamela<br />
Crutchfield, Cheryl and Eric McKissack, and Pooja and Peter Vukosavich,<br />
who provided us this opportunity to toast both the performances and<br />
people that give our museum its creative vitality. Above all, we thank you<br />
for your presence here tonight, which demonstrates your enthusiastic<br />
commitment to supporting the arts. We hope you enjoy tonight’s exhilarating<br />
performance and the celebration to follow.<br />
Helen Zell<br />
Chair <strong>of</strong> the Board <strong>of</strong> Trustees<br />
Madeleine Grynsztejn<br />
Pritzker Director
As <strong>of</strong> April 7, 2008<br />
Evening Benefactors<br />
Richard A. Lenon<br />
Lyle and Shawnelle Logan<br />
Northern Trust<br />
Carol Prins and John H. Hart/The Jessica Fund<br />
Helen Zell<br />
Spotlight Patrons<br />
Pamela Crutchfield<br />
David Herro and Jay Franke<br />
Mary Ittelson and Rick Tuttle<br />
Burt and Anne Kaplan<br />
Alfred L. McDougal and Nancy Lauter McDougal<br />
Cheryl and Eric McKissack<br />
Alice and John Sabl<br />
Pooja and Peter Vukosavich<br />
Spotlight Supporters<br />
Katherine A. Abelson and Robert J. Cornell<br />
Deborah A. Bricker<br />
Doris Conant<br />
Lester N. Coney<br />
Amina Dickerson and Julian Roberts<br />
Shawn Donnelley<br />
Lois and Steve Eisen<br />
Sandra/Zoe and Gerald Eskin<br />
Marilyn and Larry Fields<br />
Gale Warshauer Fischer and Ric Fischer<br />
Gary and Denise Gardner<br />
Terri and Stephen Geifman<br />
Nicholas L. Giampietro/Reyes Holdings, LLC<br />
Trudene Giesel and James Westerman<br />
Goldberg General Contracting<br />
Richard and Mary L. Gray<br />
Ruth P. Horwich<br />
Kym and Darrell Hubbard<br />
Waldo E. Johnson, Jr.<br />
Barbara and David Kipper<br />
Bonnie Lipe<br />
Jim and Kay Mabie<br />
Susan Manning and Doug Doetsch<br />
Maya Polsky<br />
Stephen Pratt and Sarai Ho=man<br />
Elizabeth Price<br />
Desiree Rogers<br />
Esther S. Saks<br />
Pam She;eld<br />
Howard and Donna Stone<br />
Ellen Stone Belic<br />
Marjorie and Louis Susman<br />
John and Joan von Leesen<br />
Richard and Diane Weinberg<br />
Tita and Gene Ze=ren<br />
Danielle and Martin Zimmerman<br />
The dining experience is generously provided by<br />
Catering<br />
Wine for the evening is graciously provided by John Hart:<br />
Hart Davis Hart Wine Company.<br />
Paper for the invitation was provided by Mohawk Fine Papers and<br />
Unisource.
About the artists<br />
Bill T. Jones/Arnie Zane Dance Company<br />
is currently celebrating its 25th-anniversary season.<br />
The company was founded after 11 years <strong>of</strong> collaboration<br />
during which Bill T. Jones and Arnie Zane<br />
(1948–88) redefined the duet form and foreshadowed<br />
issues <strong>of</strong> identity, form, and social commentary that<br />
would change the face <strong>of</strong> American dance. It emerged<br />
onto the international scene in 1983 with the world<br />
premiere <strong>of</strong> Intuitive Momentum featuring legendary<br />
drummer Max Roach at the Brooklyn Academy<br />
<strong>of</strong> Music (BAM). Since then, the ten-member company<br />
has performed worldwide in more than<br />
200 cities in 30 countries including Australia, Brazil,<br />
Canada, the Czech Republic, Germany, France,<br />
Israel, Italy, Japan, Mexico, South Africa, and the UK.<br />
Today, the Harlem-based company is recognized as<br />
one <strong>of</strong> the most innovative and powerful forces in the<br />
modern dance world.<br />
The company has distinguished itself through teaching<br />
and performing in various universities, festivals,<br />
and under the aegis <strong>of</strong> government agencies such<br />
as the US Information Agency (in Eastern Europe,<br />
Asia, and Southeast Asia). Approximately 50,000 to<br />
100,000 people see the company across the country<br />
and around the world each year.<br />
The work <strong>of</strong> the Bill T. Jones/Arnie Zane Dance<br />
Company freely explores both musically driven works<br />
as well as works using a wide variety <strong>of</strong> texts (such<br />
as Reading, Mercy and the <strong>Art</strong>ificial Nigger based on<br />
Flannery O’Connor’s 1955 short story, “The <strong>Art</strong>ificial<br />
Nigger”). The company’s repertoire varies widely<br />
in its subject matter; visual imagery; and stylistic<br />
approach to movement, voice, and stagecraft. The<br />
company has been acknowledged for its intensely<br />
collaborative method that has included artists as<br />
diverse as Keith Haring, the Orion String Quartet, the<br />
Chamber Society <strong>of</strong> Lincoln Center, Cassandra<br />
Wilson, Fado singer Misia, jazz pianist Fred Hersch,
11<br />
Ross Bleckner, Jenny Holzer, Robert Longo, Julius<br />
Hemphill, and Peteris Vasks, among others. The<br />
collaborations between the Bill T. Jones/Arnie Zane<br />
Dance Company and visual artists were the subject <strong>of</strong><br />
<strong>Art</strong> Performs Life (1998), a groundbreaking exhibition<br />
at the Walker <strong>Art</strong> Center in Minneapolis.<br />
Some <strong>of</strong> the company’s most celebrated creations<br />
are evening-length works, including Last Supper at<br />
Uncle Tom’s Cabin/The Promised Land (premiered as<br />
part <strong>of</strong> the Next Wave Festival at BAM, 1990); Still/<br />
Here (premiered at the Biennale de la Danse, Lyon,<br />
France, 1994); We Set Out Early . . . Visibility Was Poor<br />
(premiered at Hancher Auditorium, Iowa City, 1996);<br />
You Walk (premiered at European Capital <strong>of</strong> Culture,<br />
Bologna, Italy, 2000); and Blind Date (premiered at<br />
Montclair State University’s Alexander Kasser Theater,<br />
Montclair, New Jersey, 2006). The ongoing, sitespecific<br />
Another Evening is now in its sixth incarnation<br />
as Another Evening: I Bow Down.<br />
The company has also produced two performances<br />
centered around Jones’s solo works The Breathing<br />
Show (premiered at Hancher Auditorium, Iowa City,<br />
1999) and As I Was Saying . . . (premiered at the<br />
Walker <strong>Art</strong> Center’s William and Nadine McGuire<br />
Theater, 2005).<br />
The company has been featured in many publications,<br />
including one <strong>of</strong> the most in-depth examinations <strong>of</strong><br />
Jones and Zane’s collaborations in Body Against Body:<br />
The Dance and Other Collaborations <strong>of</strong> Bill T. Jones<br />
and Arnie Zane (Station Hill Press, 1989), edited by<br />
Elizabeth Zimmer.<br />
The company has received numerous awards,<br />
including New York Dance and Performance Awards<br />
(Bessies) for Chapel/Chapter at Harlem Stage (2006);<br />
The Table Project (2001); D-Man in the Waters (1989<br />
and 2001); musical scoring and costume design<br />
for Last Supper at Uncle Tom’s Cabin/The Promised<br />
Land (1990); and for the 1986 Joyce Theater season.<br />
The company was nominated for London’s Laurence<br />
Olivier Award for Outstanding Achievement in<br />
Dance and Best New Dance Production for We Set<br />
Out Early . . . Visibility Was Poor (1999).<br />
The company celebrated its landmark 20th anniversary<br />
at BAM with 37 guest artists, including Susan<br />
Sarandon, Cassandra Wilson, and Vernon Reid. The<br />
Phantom Project: The 20th Season presented a diverse<br />
repertoire <strong>of</strong> more than 15 revivals and new works.<br />
For more information, visit billtjones.org.
12<br />
Bill T. Jones<br />
is the recipient <strong>of</strong> a 2007 Tony Award, 2007 Obie<br />
Award, and 2007 USA Eileen Harris Norton<br />
Fellowship. He has also won the 2006 Stage<br />
Directors and Choreographers Foundation<br />
CALLAWAY Award for his choreography for Spring<br />
Awakening, A New Musical; 2006 Lucille Lortel Award<br />
for Outstanding Choreography for The Seven; 2005<br />
Wexner Prize; 2005 Samuel H. Scripps American<br />
Dance Festival Award for Lifetime Achievement;<br />
Harlem Renaissance Award; 2003 Dorothy and<br />
Lillian Gish Prize; and 1994 Mac<strong>Art</strong>hur Fellowship.<br />
In 2000, the Dance Heritage Coalition named Jones<br />
“An Irreplaceable Dance Treasure.” He began his<br />
dance training at the State University <strong>of</strong> New York–<br />
Binghamton, studying classical ballet and modern<br />
dance. He choreographed and performed worldwide<br />
as a soloist and as part <strong>of</strong> a duet company with his<br />
partner Arnie Zane before forming the Bill T. Jones/<br />
Arnie Zane Dance Company in 1982.<br />
Having created more than 100 works for his company,<br />
Jones has also choreographed for Alvin Ailey<br />
American Dance Theater, Axis Dance Company,<br />
Boston Ballet, Lyon Opera Ballet, Berlin Opera<br />
Ballet, Dayton <strong>Contemporary</strong> Dance Company, and<br />
Diversions Dance Company, among others. In 1995,<br />
Jones directed and performed in a collaborative work,<br />
Degga, with Toni Morrison and Max Roach at Alice<br />
Tully Hall, commissioned by Lincoln Center’s Serious<br />
Fun Festival. His collaboration with Jessye Norman,<br />
How! Do! We! Do!, premiered at New York’s City<br />
Center in 1999.<br />
In 1990, Jones choreographed Sir Michael Tippet’s<br />
New Year under the direction <strong>of</strong> Sir Peter Hall for the<br />
Houston Grand Opera and the Glyndebourne Festival<br />
Opera. He conceived, codirected, and choreographed<br />
Mother <strong>of</strong> Three Sons, which was performed at the<br />
Munich Biennale, New York City Opera, and the<br />
Houston Grand Opera. He also directed Lost in the<br />
Stars for the Boston Lyric Opera. Jones’s theater<br />
involvement includes codirecting Perfect Courage with<br />
Rhodessa Jones for Festival 2000, in 1990. In<br />
1994, he directed Derek Walcott’s Dream on Monkey<br />
Mountain for the Guthrie Theater in Minneapolis.<br />
In June 2006, Jones choreographed Spring Awakening,<br />
A New Musical with music by Grammy-nominated<br />
singer and songwriter Duncan Sheik and directed by<br />
Michael Mayer.<br />
Jones’s television credits include PBS’s Great<br />
Performances series (Fever Swamp and Last Supper at<br />
Uncle Tom’s Cabin/The Promised Land) and Alive from<br />
O¤ Center (Untitled). Still/Here was codirected for<br />
television by Bill T. Jones and Gretchen Bender. “Bill<br />
T. Jones: Still/Here with Bill Moyers,” a PBS documentary<br />
on the making <strong>of</strong> Still/Here by Bill Moyers and
13<br />
David Grubin, premiered in 1997. The 1999 Blackside<br />
documentary I’ll Make Me a World: A Century <strong>of</strong><br />
African-American <strong>Art</strong>s, pr<strong>of</strong>iled Jones’s work. D-Man<br />
in the Waters is included in Free to Dance, a 2001<br />
Emmy-winning documentary that chronicles modern<br />
dance’s African American roots. In 2004, ARTE<br />
France and Bel Air Media produced Bill T. Jones—<br />
Solos, directed by Don Kent.<br />
In 1979, Jones was granted the Creative <strong>Art</strong>ists<br />
Public Service Award in Choreography, and he received<br />
Choreographic Fellowships from the National<br />
Endowment for the <strong>Art</strong>s in 1980, 1981, and 1982.<br />
Jones has been awarded several Bessie Awards for<br />
the 1986 Joyce Theater season (along with Arnie<br />
Zane), D-Man in the Waters (1989 and 2001),<br />
The Table Project (2001), and The Breathing Show<br />
(2001). Along with his collaborators Rhodessa Jones<br />
and Idris Ackamoor, Jones received an Izzy Award<br />
for Perfect Courage in 1990. He was honored with the<br />
Dorothy B. Chandler Performing <strong>Art</strong>s Award for his<br />
innovative contributions to performing arts in<br />
1991, and in 1993, he was presented with the Dance<br />
Magazine Award. He received another Izzy Award for<br />
his work Fantasy in C-Major with Axis Dance Company<br />
in 2001. Jones has received honorary doctorates from<br />
the <strong>Art</strong> Institute <strong>of</strong> <strong>Chicago</strong>, Bard College, Columbia<br />
College, the Juilliard School, and Swarthmore College<br />
as well as the SUNY Binghamton Distinguished<br />
Alumni Award.<br />
In 1995, Pantheon Books published Jones’s memoirs<br />
Last Night on Earth. In 1989, Station Hill Press<br />
published an in-depth look at the work <strong>of</strong> Jones and<br />
Zane titled Body Against Body: The Dance and Other<br />
Collaborations <strong>of</strong> Bill T. Jones and Arnie Zane. Hyperion<br />
Books published Dance, a children’s book written by<br />
Jones and photographer Susan Kuklin, in 1998.<br />
He is proud to have contributed to Continuous Replay:<br />
The Photographs <strong>of</strong> Arnie Zane, published by MIT<br />
Press in April 1999.<br />
Jones’s interest in new media and digital technology<br />
has resulted in two collaborations with the team<br />
<strong>of</strong> Paul Kaiser, Shelley Eshkar, and Mark Downey.<br />
The first, Ghostcatching—A Virtual Dance Installation<br />
(1999), was produced by and premiered at the Cooper<br />
Union in New York. The second, 22 (2004), was the<br />
result <strong>of</strong> a three-year development under the auspices<br />
<strong>of</strong> Arizona State University’s Institute for Studies in<br />
the <strong>Art</strong>s and Technology in Tempe where it premiered.<br />
Arnie Zane (1948–88)<br />
was born in the Bronx and educated at SUNY<br />
Binghamton. In 1971, Zane and Jones began their<br />
long collaboration in choreography, and in 1973 they<br />
formed the American Dance Asylum in Binghamton<br />
with Lois Welk. Zane’s first recognition in the<br />
arts came as a photographer when he received a<br />
Creative <strong>Art</strong>ists Public Service (CAPS) Fellowship<br />
in 1973. Zane was the recipient <strong>of</strong> a second CAPS<br />
Fellowship in 1981 for choreography as well as<br />
two Choreographic Fellowships from the National<br />
Endowment for the <strong>Art</strong>s (1983 and 1984). In 1980,<br />
Zane received the German Critics Award with Jones<br />
for his work Blauvelt Mountain. A duet with Jones,<br />
Rotary Action, was filmed for television and coproduced<br />
by WGBH Boston and Channel 4 in London.<br />
The Alvin Ailey American Dance Theater commissioned<br />
a new work from Zane and Jones, How to Walk<br />
an Elephant, which premiered at Wolftrap in August<br />
1985. Zane (along with Jones) received a 1985–86<br />
Bessie Award for Choreographer/Creator. Continuous<br />
Replay: The Photographs <strong>of</strong> Arnie Zane was published<br />
by MIT Press in April 1999.
14<br />
dancers<br />
Antonio Brown<br />
is a native <strong>of</strong> Cleveland and began his dance training<br />
at the Cleveland School <strong>of</strong> the <strong>Art</strong>s. He attended<br />
The Juilliard School and graduated in spring 2007.<br />
While there, he performed works by José Limón,<br />
Ohad Naharin, Jirí Kylián, Eliot Feld, Aszure Barton,<br />
Jessica Lang, and Susan Marshall. Brown joined<br />
the company in 2007.<br />
Asli Bulbul<br />
is from Istanbul. After graduating from Mimar Sinan<br />
State Conservatory in 1997, she moved to New York<br />
where she worked with various choreographers<br />
including Joanna Mendl Shaw and Guido Tuveri. She<br />
was invited to spend time with Pina Baush and her<br />
amazing dancers in 2000. Bulbul joined the company<br />
in 2001.<br />
Peter Chamberlin<br />
was born in Augusta, Maine. He trained at the North<br />
Carolina School <strong>of</strong> the <strong>Art</strong>s and BalletMet <strong>of</strong><br />
Columbus, Ohio, under the tutelage <strong>of</strong> Yoko Ichino.<br />
He has performed with the Kevin Wynn Collection,<br />
Take Dance, NOA Nelly van Bommel, and Sidra Bell<br />
Dance New York and has been on the faculty <strong>of</strong><br />
Ballet International with artistic director Kazuko<br />
Hirabayashi. He graduated from SUNY Purchase in<br />
2007. Chamberlin joined the company in 2007.<br />
Leah Cox<br />
grew up in Houston. She received her dance training<br />
from suburban dance teachers; North Carolina<br />
School <strong>of</strong> the <strong>Art</strong>s; and Texas Christian University,<br />
where she majored in philosophy and minored in<br />
religion. Her current interests and influences include<br />
W. G. Sebald, backpacking and canyoneering, Marcel<br />
Proust, Susan Sontag, necessary movement, 24, what<br />
is essential, J. M. Coetzee, Ashtanga yoga, Anne<br />
Carson, John McPhee, Bonnie “Prince” Billy, and the<br />
idea <strong>of</strong> life spread wide. Cox began working with<br />
the company in 2001.<br />
Maija Garcia<br />
lives in Harlem and sends her gratitude home to<br />
Havana; Ann Arbor; and the Bay Area, where she<br />
graduated from the California<br />
Institute <strong>of</strong> Integral Studies.<br />
Producer <strong>of</strong> Organic Magnetics,<br />
Garcia’s work as a movement<br />
artist involves practicing yoga and<br />
martial arts, creating dance works,<br />
teaching, and performing. Garcia<br />
began working with the company<br />
in 2004.<br />
Shayla-Vie Jenkins<br />
began her primary dance training<br />
at the Watson Johnson Dance<br />
Theatre and the Mercer County<br />
Performing <strong>Art</strong>s School in New<br />
Jersey. In 2004, she graduated with
15<br />
honors from Fordham University under the direction<br />
<strong>of</strong> Denise Je=erson and Ana Marie Forsythe, earning<br />
a bachelor <strong>of</strong> fine arts with a minor in English. She<br />
has also danced pr<strong>of</strong>essionally with the Kevin Wynn<br />
Collection, nathan trice/Rituals, Earl Mosely’s<br />
Diversity <strong>of</strong> Dance, and the Francesca Harper Project.<br />
Jenkins joined the company in 2005.<br />
LaMichael Leonard<br />
graduated from the New World School <strong>of</strong> the <strong>Art</strong>s<br />
in Miami. He joined the Martha Graham Dance<br />
Company and performed lead roles in national and<br />
international tours. Most recently, he danced with<br />
Buglisi Dance Theatre. Leonard joined the company<br />
in 2007.<br />
Erick Montes<br />
was voted one <strong>of</strong> Dance Magazine’s 25 to Watch.<br />
Originally from Mexico City, where he trained at<br />
the National School <strong>of</strong> Classical and <strong>Contemporary</strong><br />
Dance, he began his pr<strong>of</strong>essional career with the<br />
Compañia Barro Rojo <strong>Art</strong>e Escenico, A-Quo Danza<br />
Contemporanea, Aksenti, and Thania Perez-Salas.<br />
In 2001, he received first prize in the Premio<br />
Intercontinental INBA-UAM. In 2002, he collaborated<br />
with choreographer Stephen Petronio on projects<br />
sponsored by Lincoln Center Out <strong>of</strong> Doors and<br />
Queens Theatre in the Park. He received grants in<br />
both 2002 and 2005 through the Fondo Nacional<br />
para la Cultura y las <strong>Art</strong>es. In 2004, Montes was<br />
invited to participate in the Festival Mexico Now in<br />
New York as an emerging Mexican choreographer.<br />
In 2005, he received a grant from Aaron Davis Hall<br />
for E-Moves. Montes joined the company in 2003.<br />
Charles Scott<br />
studied dance at Virginia Commonwealth University<br />
before joining the Limón Dance Company in<br />
2001, performing works by José Limón and Doris<br />
Humphrey as well as those by guest choreographers<br />
including Adam Hougland, Lar Lubovitch, Jirí Kylián,<br />
and Donald McKayle. He has participated in<br />
three summer residencies at The Yard on Martha’s<br />
Vineyard, working with Patricia Nanon and guest<br />
choreographers to present new works. Scott joined<br />
the company in 2005.<br />
collaborators<br />
Bjorn G. Amelan<br />
was the partner <strong>of</strong> the late fashion designer Patrick<br />
Kelly from 1983 until his passing in 1990. He moved<br />
to the United States in 1993 to begin his collaboration<br />
with Jones, designing and creating the decor<br />
for more than ten works and special presentations<br />
as the company’s resident set designer. They include<br />
We Set Out Early . . . Visibility Was Poor (1996);<br />
Green and Blue (1997) for the Lyon Opera Ballet; You<br />
Walk (1999); The Table Project (2000); three contrasting<br />
designs for the Chamber Music Society <strong>of</strong><br />
Lincoln Center collaboration, Verbum; Black Suzanne;<br />
and WORLDWITHOUT/IN (all 2002). In 1999 he<br />
designed How! Do! We! Do! for Jones and Jessye<br />
Norman in conjunction with the Lincoln Center’s<br />
Great Performers’ New Visions series. In 2003, he<br />
designed Jones’s narrative work Reading, Mercy and<br />
The <strong>Art</strong>ificial Nigger as well as its abstract companion<br />
piece Mercy 10 ∞ 8 on a Circle. Amelan’s designs for<br />
Blind Date and Another Evening: I Bow Down are in<br />
the company’s current repertory. In 2004, he won recognition<br />
for Memory <strong>of</strong> a Rock: First Move, his gallery<br />
showing <strong>of</strong> bronze and stone sculptures presented at<br />
the Dwight Hackett Gallery in Santa Fe, New Mexico,<br />
and played a key role in organizing Patrick Kelly:<br />
A Retrospective at the Brooklyn <strong>Museum</strong>. Amelan is<br />
the recipient <strong>of</strong> a 2001 Bessie Award for his designs<br />
<strong>of</strong> The Breathing Show and The Table Project.
16<br />
Laura Bickford<br />
grew up in New York and studied at the Performing<br />
<strong>Art</strong>s High School, Eliot Feld Ballet, and the Jo=rey Ballet.<br />
She graduated from Smith College with a bachelor<br />
<strong>of</strong> arts in philosophy and anthropology. Bickford has<br />
assisted lighting designer Robert Wierzel on many<br />
productions, including dance and opera. She has<br />
also worked as lighting supervisor for the New York<br />
City Opera, New York City Ballet, and Glimmerglass<br />
Opera. She is honored to be a part <strong>of</strong> this wonderful<br />
company, which she joined in 2004.<br />
Bob Bursey<br />
grew up in Roanoke, Virginia. He has worked in event<br />
production for nine years. Past projects in the arts include<br />
the American Dance Festival, Shen Wei Dance<br />
<strong>Art</strong>s, David Rousseve/REALITY, and Tanztheater<br />
Wuppertal Pina Bausch. Bursey previously worked in<br />
concert audio and toured with rock bands. He thanks<br />
his crew for its outstanding work. Bursey joined the<br />
company in 2003.<br />
Sam Crawford<br />
completed both his associate <strong>of</strong> science degree in<br />
audio technology and bachelor <strong>of</strong> arts in English<br />
at Indiana University in 2003. A move to New York led<br />
him to Looking Glass Studios where he worked on<br />
film projects with Philip Glass and Björk. He currently<br />
lives in Jersey City, where he works as a freelance live<br />
sound recording engineer and plays banjo and bass<br />
guitar in the groups Stere<strong>of</strong>an and The Goodwill<br />
Orchestra.<br />
Daniel A. Finney<br />
is from Compton, California. He has managed<br />
companies for more than ten years with regional<br />
and touring theater and dance groups such as the<br />
Colorado Shakespeare Festival (CSF), Hudson Valley<br />
Shakespeare Festival (HVSF), Indiana Repertory<br />
Theatre (IRT), Limón Dance Company, Second Stage<br />
Theatre, and The Acting Company. He has also<br />
worked as a carpenter, flyman, deck manager, and<br />
stage manager with the CSF, Skylight Opera, IRT,<br />
and Honolulu Theatre for Youth, respectively. Finney<br />
joined the company in 2006.<br />
Christopher Antonio William Lancaster<br />
is a composer and performing artist living in New<br />
York. His live and recorded music is created by the<br />
processing <strong>of</strong> acoustic cello sound through real-time<br />
samplers, audio e=ects, and filtering. He composes<br />
predominately for theater and dance and for his<br />
band The Black Sounds. His compositions have<br />
been performed at the University <strong>of</strong> California, Irvine;<br />
University <strong>of</strong> California, Los Angeles; University<br />
<strong>of</strong> California, Berkeley; Kennedy Center; Biennale<br />
De La Danse in Lyon, France; Bellevue Teatret<br />
and Kanonhallen in Copenhagen; the Kaleidoscope<br />
Festival and Sergio Porto in Rio de Janeiro; Dance<br />
Theater Workshop; Symphony Space; The Duke on<br />
42nd Street, The New Victory Theater; Tisch School <strong>of</strong><br />
the <strong>Art</strong>s at New York University; the Joyce and Joyce<br />
Soho in New York; and the American Dance Festival<br />
at Duke University. Lancaster is currently working on<br />
commissions from Staccato Movimento, Palindrome<br />
Inter.media, Colleen Thomas, Sean Curran, and<br />
making videos for YouTube. He can be contacted at<br />
ChrisLancaster@mac.com.<br />
Eric Launer<br />
is the head stage technician for the Skirball Center<br />
for the Performing <strong>Art</strong>s at New York University when<br />
he is not helping his friends at the company. In<br />
his free time, Launer plays the electric bass and loves<br />
playing frisbee.
17<br />
Jennifer Jade Ledesna<br />
is a trilingual New York native. She is an alumnus<br />
<strong>of</strong> The New School University Jazz Conservatory and<br />
LaGuardia High School <strong>of</strong> Performing <strong>Art</strong>s. Jade<br />
placed third in the prestigious Montreux Jazz Festival<br />
International Voice Competition in 2007. She has<br />
been featured on The Nueva Estrella Awards as a Latin<br />
Idol semifinalist (CBS), France 2’s Envoye Special<br />
Broadway documentary, and NY1 as well as in the<br />
New York Times article “In the South Bronx, the <strong>Art</strong>s<br />
Beckon.” She has toured nationally with Theatreworks<br />
USA (Corduroy) and has performed at the Salvador<br />
Dali Jazz Festival (BR); the US-Brazilian Consulate;<br />
Fête de la Musique, Paris; and Lincoln Center’s<br />
Kaplan Penthouse. Some <strong>of</strong> her favorite roles include<br />
Dorothy (The Wiz), Marta (Company), Julie Jordan<br />
(Carousel), and Maria (West Side Story). She has also<br />
had the grand privilege <strong>of</strong> performing with Reggie<br />
Workman, Candido Camero, Junior Mance, Dave<br />
Valentin, Eric Lewis, Wycli=e Gordon, Sekou Sundiata,<br />
and Wynton Marsalis, among others.<br />
Jim Lewis<br />
received Tony and Drama Desk nominations in the<br />
Best Book for a Musical category for Chronicle <strong>of</strong><br />
a Death Foretold (Broadway, 1995). He worked with<br />
Graciela Daniele on Dangerous Games (Broadway,<br />
1990) and Tango Apaisionado (Westbeth, 1988).<br />
He conceived and wrote the libretto for Ballet<br />
Hispanico’s Nightclub along with titles and narration<br />
for Philip Glass’s Les Enfants Terribles. His translations<br />
include Eugène Ionesco’s The Chairs and<br />
Henrik Ibsen’s Lady from the Sea. He has been the<br />
production dramaturg for White Oak Dance Project’s<br />
PastFORWARD with Mikhail Baryshnikov; Anna<br />
Deavere Smith’s House Arrest; Jones’s Dream on<br />
Monkey Mountain; the WOZA AFRIKA Festival at<br />
Lincoln Center; and the Obie-winning revival<br />
<strong>of</strong> Harley Granville-Barker’s Waste and William<br />
Shakespeare’s Cymbeline with director Bartlett Sher.<br />
Lewis was program director at the American Center<br />
in Paris and Resident Dramaturg at The Guthrie,<br />
Second Stage Theatre, and INTAR Hispanic-American<br />
Theater. He is an ongoing collaborator with numerous<br />
theater and dance companies, including The<br />
Civilians; Jane Comfort; Shapiro and Smith; and the<br />
Bill T. Jones/Arnie Zane Dance Company, with<br />
which he helped re-imagine Still/Here for its 20thanniversary<br />
production <strong>of</strong> The Phantom Project at<br />
BAM. Lewis recently wrote the libretto for The Tyrant,<br />
a new opera by composer Paul Dresher and sung by<br />
John Duykers, which toured nationally in 2006–07<br />
and appeared at the MCA in 2008. Lewis is currently<br />
at work on two commissions: a new play about the<br />
Evangelical Christian community in Colorado with<br />
The Civilians (premiered February 2007) and a new<br />
musical with Jones about the Nigerian superstar and<br />
political activist Fela Kuti.<br />
Kyle Maude<br />
has worked with Ballet Tech (formerly the Eliot Feld<br />
Ballet), The Royal Ballet School <strong>of</strong> London, Buglisi-<br />
Foreman Dance, and Lesbian Pulp-o-Rama! Maude<br />
joined the company in 2003.<br />
Alicia Hall Moran<br />
holds degrees in music and anthropology from<br />
Barnard College and a degree in vocal performance<br />
from Manhattan School <strong>of</strong> Music. In both concert<br />
and cabaret, she has appeared in lead performances<br />
at the Kennedy Center, Stamford Center for the<br />
Performing <strong>Art</strong>s, Cathedral <strong>of</strong> St. John the Divine,<br />
Cafe Sebarsky, and St. Paul’s Chapel. Past roles<br />
include Mozart’s Donna Anna under the guidance<br />
<strong>of</strong> Martina Arroyo; soprano in Rough Crossings, a<br />
recent collaboration with historian Simon Schama at<br />
Symphony Space; and Marian Anderson in Things <strong>of</strong><br />
the Heart at Bermuda International <strong>Art</strong>s Festival.
18<br />
She sings on the track “Milestone” in the 2006 Blue<br />
Note Records release <strong>Art</strong>ist In Residence, which her<br />
husband, pianist Jason Moran composed for their<br />
Walker <strong>Art</strong> Center commission. Moran currently studies<br />
in the studio <strong>of</strong> opera legend Shirley Verrett.<br />
Liz Prince<br />
has worked extensively with Jones since 1990 designing<br />
for his company as well as his productions<br />
for the Boston Ballet, Berlin Opera Ballet, and Alvin<br />
Ailey American Dance Theater. She recently designed<br />
costumes for Goodspeed Musicals’ version <strong>of</strong><br />
Pippin, directed by Gabriel Barre. Other work includes<br />
designs for Doug Varone (Doug Varone and<br />
Dancers, José Limón Dance Company, and Dayton<br />
<strong>Contemporary</strong> Dance Company), Trey McIntyre<br />
(American Ballet Theater, Washington Ballet,<br />
Pennsylvania Ballet, PHILADANCO, and Houston<br />
Ballet), Mark Dendy (Dendy Dance, Pacific Northwest<br />
Ballet, and Dortmund Theater Ballet), Mikhail<br />
Baryshnikov’s White Oak Dance Project (Meg Stuart<br />
and Lucy Guerin), Tamar Rogo= (Claire Danes),<br />
PILOBOLUS, Neil Greenberg, Jane Comfort, Bebe<br />
Miller, Ralph Lemon, <strong>Art</strong>hur Aviles, Larry Goldhuber,<br />
David Dorfman, and LAVA. Her costumes have<br />
been exhibited at the New York Public Library for the<br />
Performing <strong>Art</strong>s, Cleveland Center for <strong>Contemporary</strong><br />
<strong>Art</strong>, and the Snug Harbor Cultural Center. Prince<br />
received a 1990 Bessie Award for Costume Design.<br />
Lawrence “Lipbone” Redding<br />
is a multifaceted vocal artist, band leader, songwriter,<br />
and instrumentalist who has made a career <strong>of</strong> blending<br />
and bending sounds and styles with the recurring<br />
theme <strong>of</strong> connectedness. Having performed in a<br />
variety <strong>of</strong> venues, including Lincoln Center, many jazz<br />
clubs, and the New York City subway, “Lipbone” lives<br />
by the notion that the true self never changes, why<br />
not try new things The “Lipbone” Redding Orchestra,<br />
a three-piece band that makes wide use <strong>of</strong> the vocal<br />
instrument, can be heard weekly in New York at Jules’<br />
Jazz Bistro. Redding thanks the dancers, musicians,<br />
sta=, and Jones for making the challenge <strong>of</strong> Chapel/<br />
Chapter an inspired experience and a lesson in optimism,<br />
faith, and perseverance. For more information<br />
about the music <strong>of</strong> “Lipbone” Redding, visit<br />
lipbone.com<br />
Daniel Bernard Roumain (DBR)<br />
is a composer, performer, violinist, and bandleader<br />
who seamlessly blends funk, rock, hip-hop, and classical<br />
music into a new sonic vision that is “far out<br />
and creative in another world.” He’s been dubbed<br />
a Classical Urban Ambassador for the next generation<br />
by Seven Days. Voted #3 Best Classical Moment<br />
<strong>of</strong> 2003 by the New York Times and raved by critics<br />
from classical and popular music fields alike, DBR<br />
has collaborated with Philip Glass, Ryuichi Sakamoto,<br />
Savion Glover, Vernon Reid, DJ Radar, DJ Spooky,<br />
DJ Scientific, Susan Sarandon, Cassandra Wilson,<br />
and an array <strong>of</strong> orchestras and chamber ensembles.<br />
The Dallas, Memphis, San Antonio, and St. Louis<br />
orchestras have performed or commissioned his<br />
works, and as Assistant Composer-in-Residence <strong>of</strong><br />
the Orchestra <strong>of</strong> St. Luke’s, he regularly collaborates<br />
with the OSL. As <strong>Art</strong>ist-in-Residence at Arizona State<br />
University, DBR premiered ROCKESTRA: A Hip Hop<br />
Music and Dance Party featuring DJ Radar, and returned<br />
to collaborate and perform with Philip Glass in<br />
SEEN AND HEARD: Philip Glass and Daniel Roumain<br />
Together on Screen, Stage and in Sound. His ninemember<br />
band DBR & THE MISSION presents lively,<br />
genre-jumping contemporary music that captures<br />
varied audiences nationwide. His 24 Bits: Hip-Hop<br />
Studies and Études was highlighted at the group’s<br />
sold-out performance at Joe’s Pub, receiving critical<br />
acclaim: “true to form, these vary greatly in style,<br />
from slow, introspective Neo-Classical ruminations
19<br />
to rhythmically complicated, ri=y pieces that would<br />
not be out <strong>of</strong> place in a dance club” (New York Times).<br />
For more information, visit dbrmusic.com.<br />
Andrea Smith<br />
studied theater at the North Carolina School <strong>of</strong> the<br />
<strong>Art</strong>s and at the American Academy <strong>of</strong> Dramatic <strong>Art</strong>s,<br />
New York. He made his pr<strong>of</strong>essional debut in 1989<br />
in the title role <strong>of</strong> the company’s Last Supper at Uncle<br />
Tom’s Cabin/The Promised Land. Other works with<br />
Jones include Mother <strong>of</strong> Three Sons, Lost in the Stars,<br />
Dream on Monkey Mountain, Continuous Replay, and<br />
this season’s Another Evening: I Bow Down and Blind<br />
Date. Smith has also danced with choreographers<br />
such as David Gordon, David Rouseve, and Thierry<br />
Smits. His theatrical credits include performances at<br />
Lincoln Center, the National Black Theater, the North<br />
Carolina Shakespeare Festival, the New York City<br />
Opera, and The Public Theater.<br />
Robert Wierzel<br />
has worked with artists from diverse disciplines and<br />
backgrounds in theater, dance, new music, opera,<br />
and museums, and on stages throughout the country<br />
and abroad. He has a 21-year history with Jones and<br />
the company. A selection <strong>of</strong> his many projects with<br />
the company include Blind Date; Another Evening:<br />
I Bow Down; Still/Here; We Set Out Early . . . Visibility<br />
Was Poor; You Walk; Last Supper at Uncle Tom’s<br />
Cabin/The Promised Land; and How to Walk an<br />
Elephant. Other works with Jones include projects<br />
at the Guthrie Theatre, Lyon Opera Ballet, Deutsche<br />
Opera Ballet (Berlin), Boston Ballet, Boston Lyric<br />
Opera, the Welsh dance company Diversions, and<br />
London’s <strong>Contemporary</strong> Dance Trust. Wierzel has<br />
also collaborated with choreographers Trisha Brown,<br />
Doug Varone, Donna Uchizono, Larry Goldhuber,<br />
Heidi Latsky, Sean Curran, Molissa Fenely, Susan<br />
Marshall, Margo Sappington, Alonzo King, and<br />
Joann Fregalette-Jansen. He has worked with opera<br />
companies in Paris (Garnier); Tokyo; Seattle; Toronto;<br />
Montreal; Vancouver; San Francisco; Boston; San<br />
Diego; Houston; Washington; Minnesota; Virginia;<br />
Miami; Portland; Omaha; and <strong>Chicago</strong> as well<br />
as with Glimmerglass Opera and New York City<br />
Opera. Other credits include David Copperfield’s<br />
Dreams and Nightmares on Broadway and American<br />
Conservatory Theater; Arena Stage; The Shakespeare<br />
Theatre Washington, D.C.; Hartford Stage; Long<br />
Wharf Theatre; Goodman Theatre; the Guthrie; Mark<br />
Taper Forum; Berkeley Repertory Theatre; Milwaukee<br />
Repertory Theater; <strong>Chicago</strong> Shakespeare Theater;<br />
and Westport Country Playhouse; among many<br />
others. Wierzel is currently on the faculty <strong>of</strong> New York<br />
University’s Tisch School <strong>of</strong> the <strong>Art</strong>s.<br />
Janet Wong<br />
was born in Hong Kong and trained there as well as<br />
in London. After graduation, she joined the Berlin<br />
Ballet where she first met Jones when he was invited<br />
to choreograph for the company. In 1993, she moved<br />
to New York to pursue other interests. She became<br />
Rehearsal Director <strong>of</strong> the company in 1996 and<br />
Associate <strong>Art</strong>istic Director in August 2006. In 2004,<br />
she began video work. Wong thanks Peter Nigrini,<br />
Bob Bursey, Ben Keightley, and Larry Goldhuber for<br />
their help in the process <strong>of</strong> creating the video.
20<br />
Bill T. Jones/Arnie Zane Dance Company<br />
Bill T. Jones, <strong>Art</strong>istic Director<br />
Jean Davidson, Executive Director<br />
Janet Wong, Associate <strong>Art</strong>istic Director<br />
Board <strong>of</strong> Directors<br />
Derek Brown, Chairman<br />
Bill T. Jones, President<br />
Bjorn G. Amelan, Vice-Chairman<br />
Daniel Nissenbaum, Treasurer<br />
Terence Dougherty, Secretary<br />
Jean Davidson, Ex-Oªcio<br />
Sandra/Zoe Eskin<br />
Stephen Hendel<br />
Dr. Michael Lomax<br />
Shola Olatoye<br />
Cindy Sherman<br />
Gloria Steinem<br />
Jack Taylor<br />
Carol H. Tolan<br />
Ric Wanetik<br />
Advisory Committee<br />
Deborah W. Brooks<br />
Jenette Kahn<br />
Naima Kradjian<br />
Jeremy J. Nobel<br />
Kweli Washington<br />
Edward M. Zimmerman<br />
Chairs Emeritus<br />
Eric Anderson<br />
Eleanor Friedman<br />
<strong>Art</strong>istic Sta¤<br />
Bjorn G. Amelan, Creative Director<br />
Liz Prince, Resident Costume Designer<br />
Robert Wierzel, Resident Lighting Designer<br />
Bill Katz, <strong>Art</strong>istic Consultant<br />
Production Sta¤<br />
Bob Bursey, Production Manager<br />
Laura Bickford, Lighting Supervisor<br />
Kyle Maude, Production Stage Manager<br />
Daniel A. Finney, Company Manager<br />
Sam Crawford, Sound Supervisor<br />
Eric Launer, Technical Director<br />
Tavia Odinak, Production Intern<br />
Administrative Sta¤<br />
Dona Lee Kelly, Director <strong>of</strong> Development and<br />
External Relations<br />
David Archuletta, <strong>Program</strong> Director<br />
J. J. Lind, Development Associate, Institutional Giving<br />
Michelle Preston, Development Associate,<br />
Individual Giving<br />
Claire Cholak, Administrative Assistant<br />
Daniel Wiener, Webmaster<br />
Real Design, Identity Design Concept<br />
Ellen Jacobs Associates, Press Representation<br />
Beyond the Bottom Line, Accounting Firm
22<br />
The Bill T. Jones/Arnie Zane Dance Company expresses<br />
deep appreciation to the following individuals,<br />
foundations, corporations, and government<br />
agencies whose contributions sustain our organization.<br />
Although space limits the listing <strong>of</strong> all gifts,<br />
the company wishes to thank each and every donor.<br />
Gifts from July 1, 2006–July 13, 2007<br />
Institutional Funders<br />
Altria Group, Inc.<br />
American Express Company<br />
American Music Center<br />
Argosy Foundation<br />
Bloomberg<br />
Carnegie Corporation <strong>of</strong> New York<br />
Chase<br />
Robert Sterling Clark Foundation<br />
Creative <strong>Art</strong>ists Agency<br />
Maxine & Stuart Frankel Foundation<br />
The Florence Gould Foundation<br />
The Harkness Foundation for Dance<br />
HSBC Bank USA, N.A.<br />
IMG <strong>Art</strong>ists<br />
The Andrew W. Mellon Foundation<br />
Mid-Atlantic <strong>Art</strong>s Foundation<br />
Multi-<strong>Art</strong>s Production Fund/The Rockefeller Fund<br />
National Endowment for the <strong>Art</strong>s<br />
New England Foundation for the <strong>Art</strong>s –<br />
National Dance Project<br />
New York City Department <strong>of</strong> Cultural A=airs<br />
The New York Community Trust –<br />
Carol H. Tolan Fund<br />
New York State Council on the <strong>Art</strong>s<br />
New York State Music Fund<br />
Rudolf Nureyev Dance Foundation<br />
The Jerome Robbins Foundation<br />
Rockefeller Brothers Fund<br />
The Rockefeller Foundation Cultural Innovation Fund<br />
The Fan Fox & Leslie R. Samuels Foundation<br />
The San Francisco Foundation<br />
The Susan Stein Shiva Foundation<br />
The Shubert Foundation<br />
Starry Night Fund <strong>of</strong> Tides Foundation<br />
Time Warner Inc.<br />
Upper Manhattan Empowerment Zone<br />
Urban Green Builders<br />
In-Kind Donors<br />
East Village Wines<br />
Eisner LLP<br />
Hamilton, Rabinovitz & Alschuler, Inc.<br />
Roche Janken<br />
Lowenstein Sandler PC<br />
Department <strong>of</strong> Sanitation/NYC<br />
Department <strong>of</strong> Education<br />
Materials for the <strong>Art</strong>s, NYC Department <strong>of</strong><br />
Cultural A=airs/NYC<br />
Sydnie Mosley<br />
Real Design<br />
Samantha Stone<br />
Urban Green Builders<br />
Daniel Wiener<br />
Partners in Creation<br />
New works commissioning program<br />
Argosy Foundation<br />
Abigail Congdon and Joseph Azrack<br />
Eleanor Friedman<br />
Ruth and Stephen Hendel<br />
Ellen Poss<br />
Marcia Radosevich<br />
Carol H. Tolan
23<br />
Chairman’s Circle ($100,000+)<br />
Ellen Poss<br />
Carol H. Tolan<br />
Producer’s Circle ($50,000–99,999)<br />
Abigail Congdon and Joseph Azrack<br />
Eleanor Friedman<br />
Jack and Kristalina Taylor<br />
Leadership Circle ($25,000–49,000)<br />
Phyllis K. Friedman<br />
Ruth and Stephen Hendel<br />
Marcia J. Radosevich<br />
Jane and Terry Semel<br />
Patron’s Circle ($10,000–24,999)<br />
Eric Anderson – In Memory <strong>of</strong> R. C. Anderson<br />
Gilbert Brownstone<br />
Sandra/Zoe and Gerald Eskin<br />
Suzanne Toor Karpas and Irving D. Karpas, Jr.<br />
Benefactor ($5,000–9,999)<br />
Bjorn Amelan and Bill T. Jones<br />
Derek Brown and Deborah Hellman –<br />
In Memory <strong>of</strong> Alice Huei-Zu Yang<br />
Betty Freeman<br />
James C. Hormel and Timothy C. Wu<br />
Daniel A. Nissenbaum<br />
William Traylor<br />
Ric Wanetik and David Hagans<br />
Corporate Friends ($2,500–4,999)<br />
Gotham Acupuncture<br />
Sponsor ($1,000–2,499)<br />
Julie Bacon and Luther Peacock<br />
Rebecca Cooper<br />
Alexandra Corbin and Lawrence S. Mondschein<br />
Sage and John Cowles<br />
Jean Davidson<br />
Jill and Tom Delbanco<br />
Elisabeth and Jim DeMarse<br />
Terence Dougherty<br />
Muna El Fituri<br />
Susan L. Foster<br />
Alicia Glen and Daniel Rayner<br />
Marcia and John Goldman<br />
Sharna Goldseker and Simon Greer<br />
Carole and Ira D. Hall<br />
Jenny Holzer and Mike Glier<br />
Hedy and Kent Klineman<br />
Naima and Ara Kradjian<br />
Emily Fisher Landau<br />
Suzanne and Robert Levine<br />
Phyllis and Harvey Lichtenstein<br />
Dr. Michael L. Lomax<br />
Jimena Martinez and Michael Hirschhorn<br />
Nancy Meyer and Marc Weiss<br />
Judith D. and Samuel P. Peabody<br />
Amelie Ratli=<br />
Nadine and Murray Rubin<br />
Ruby Shang<br />
Cindy Sherman<br />
Gil Shiva<br />
Ellynne C. Skove<br />
Billie Tsien and Tod Williams<br />
Founding Friends<br />
We wish to thank these generous donors who supported<br />
the remarkable turnaround <strong>of</strong> the company<br />
(1999–2004).<br />
Abigail S. Congdon and Joseph F. Azrack<br />
Jonathan Cohen<br />
Sage and John Cowles<br />
Barbara and Eric Dobkin<br />
Catherine S. England<br />
Sandra/Zoe and Gerald Eskin<br />
Betty Freeman
24<br />
Paulette J. Meyer and David A. Friedman<br />
Eleanor Friedman<br />
Phyllis K. Friedman<br />
Bjorn Amelan and Bill T. Jones<br />
Suzanne Toor Karpas and Irving D. Karpas, Jr.<br />
Renate Graf and Anselm Kiefer<br />
Kristina Kiehl and Robert Friedman<br />
Hedy and Kent Klineman<br />
Gyongy Laky and Thomas Layton<br />
Melissa and Brad Meyer<br />
Jeremy J. Nobel, MD<br />
Jonathan Otto<br />
Ellen Poss<br />
Marcia J. Radosevich<br />
Jane and Terry Semel<br />
Linda Grass Shapiro<br />
Julia Reid Summers<br />
Jack Taylor<br />
Carol H. Tolan<br />
Betsy and Edward Zimmerman<br />
Bill T. Jones/Arnie Zane Dance Company<br />
Foundation for Dance Promotion, Inc.<br />
27 W. 120th Street, #1<br />
New York, N.Y. 10027<br />
P: 212.426.6655<br />
F: 212.426.5883<br />
billtjones.org<br />
Bill T. Jones/Arnie Zane Dance Company is<br />
presented by arrangement through:<br />
IMG <strong>Art</strong>ists<br />
Carnegie Hall Tower<br />
152 W. 57th Street, 5th floor<br />
New York, N.Y. 10019<br />
P: 212.994.3500<br />
F: 212.994.3550<br />
European representation <strong>of</strong> Bill T. Jones/Arnie Zane<br />
Dance Company by:<br />
Gillian Newson <strong>Art</strong>s Consultancy<br />
(in association with IMG <strong>Art</strong>ists/North America)<br />
P: 011 44 20 7622 8549<br />
F: 011 44 20 7498 1922<br />
E: gnewson@hotmail.com<br />
Lead 2007/2008 season support for the<br />
Bill T. Jones/Arnie Zane Dance Company is funded<br />
in part by Chase; The Carnegie Corporation;<br />
Andrew W. Mellon Foundation; Rockefeller Brothers<br />
Fund; The Rockefeller Foundation; The National<br />
Endowment for the <strong>Art</strong>s; New York City Department<br />
<strong>of</strong> Cultural A=airs; and the Upper Manhattan<br />
Empowerment Zone.