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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 11, 2000)
‘Breathing Show’ conies to Lied
■ One of the world’s foremost
choreographers performs in town
for one night only.
By Shelley Mika
The Lied Center for Performing Arts has a
reputation for bringing in some of the best per
formers in the country.
Tonight is no exception.
Bill T. Jones, one of the world’s foremost
modem dance choreographers, will perform his
solo piece, “The Breathing Show,” for one night
Jones, in an interview from his home out
side of New York, said this show brings him
back to the stage and away from a demanding
“I wanted to take a break from business as
usual and get in touch with my performing,”
Jones said. “I want to feel what it is like again to
craft an evening of my own tastes and styles.”
His style have been a long time in the mak
Jones, now 47, began his formal dance
training at the State University of New York
where he studied modern dance and classical
In 1982, Jones formed his own company, the
Bill T. Jones/Arnie Zane Dance Company.
Joined with his late partner Zane, Jones created
more than 50 works for his dancers.
Jones’ success has advanced
beyond his self-established cir
Jones has been commis
sioned to create dances for
both modern and ballet
dance companies includ
ing the Alvin Ailey i
American Dance Theater, j
the Boston Ballet and the I
Berlin Opera Ballet. J
“He is widely recog- A
nized in the dance ■
world,” said Lisa 9
Fusillo, a University of 9
dance professor. 9
“He’s a creative, 9
innovative, intellec- 9
tual and artistic per- 9
“The Breathing 9
Show.” does more 9
than display Jones' 9
dancing talent - it 9
which stem from
cians and authors. 9
The result is a multi- 9
“Life is an ongo- 9
ing commentary on 9
life, thought, change and time,” Jones said. “I’d
like to share that through a form that can sug
gest all of those categories without actually
“The Breathing Show” introduces a central
metaphor of gardening through a folk song
written and performed by Jones. Jones said he
feels this metaphor reflects his per
sonal views about his profes
sion. „ >
“The body is like a
piece of land that is
planted and culti- .
vated, which is my J
philosophy of 9
dancing,” Jones ■
piece in the ^1
four pieces of 19
during which 1
Jones said he will 1
explore different *
moods while impro
“It will probably
be very contempo
rary,” Fusillo .
“By that I mean it could be anything and every
With the help of Shelley Eshkar and Paul
Kaiser, Jones created “Ghostcatching,” a film
which uses the latest motion capture technology.
To create the film, Jones fixed sensors to the
joints of his body. As he moved, infrared sensors
picked up the motions and were displayed as a
series of dots on a screen. These dots were
then reconstituted as line drawings. The
final result is an animated film that is
based on Jones’ movements.
Ghostcatchmg divides the
main dance pieces as well as a
break from tradition.
i“It’s very evocative,” Jones
said. “It’s what happens to the
dancer when the body and the
personality are removed -
A it’s what’s left.”
By the only innovative element
i|F in the program. One section
W finds Jones thinking of him
self as a cubist man dancing to
the music of jazz musician
In another piece, Jones relies
heavily on his improvisational
skills in a section he calls
“Ghost in a Machine.” The
audience is encouraged
to participate in
•The Breathing Show
jpfg WHERE: Lied Center for
Ijyf Performing Arts,
jgjjs 301 N. 12th St.
vWHEN: Tonight at 8 p.m.
/ c COST: $36, $32 and $28.
half-price for students
ry THE SKINNY: Modem
dance choreographer brings
■& uncommon work to Lincoln.
which breaks the standard boundaries between
dancer and viewer.
“He challenges his audience to think and
react, not just to sit back and absorb,” Fusillo said.
The audience is asked to give a number
between one and 10. Each number is matched
with a song inside of Jones’ “machine.” The
song that correlates with the number the audi
ence picks then plays and others follow in a ran
dom order. Jones said he has no knowledge of
what song will play and must improvise at a
Jones cites influences from a number of
artists. But perhaps most suited to this perfor
mance are the independent filmmakers of the
’60s and ’70s.
“They tried to redefine what a narrative
was,” Jones said. “They were all non-linear
thinkers. I’m constantly looking for different
ways to define perception.”
But, from time to time, Jones’ untraditional
work spawns controversy.
In 1995, members of the Westboro Baptist
Church in Topeka, Kan., protested Jones’ perfor
. mance because his material explored issues
^ dealing with homosexuality and AIDS.
Although Jones’ description of “The
Breathing Show” suggests the show
will explore other facets of life,
<0 Fusillo said. Jones’ return is a step in
the right direction for the commu
“I think it’s a reflection of the
growth of Lincolnites opening
their minds that he’s been invited
back,” Fusillo said. “We should
L, be proud of our own receptive
K As for Jones, the past won’t
B hinder his desire to express his
B feelings through dance.
B “I look forward to com
B ing bafk to Lincoln to share
B this performance.” Jones
B said. “I'd like to share my
Bfe. love for this art form with
ip people while growing
Bl; deeper as a man and an
Bre Courtesy Photo
B Dancer Bill T. Jones
B brings his original style
B of dance to the Lied
B Center tonight.
'* s glass art displayed throughout Joslyn
By Jason Hardy
The medium of glass blowing has always
brought with it some form of controversy.
Certain circles argue that it is more craft
than actual art. Others argue the opposite.
Starting Feb. 12, the Joslyn Art Museum
will make a strong contention that glass blow
ing is not just art - it’s amazing.
“Dale Chihuly: Inside & Out,” a solo exhib
it by the world-renowned glass blower, will be
featured at the Joslyn Art Museum, 2200 Dodge
St. in Omaha, starting this weekend and run
ning through June 4. It is an exhibit like no
other and one that has literally taken over the
The extensive collection includes pieces in
a variety of mediums including ice and plastic
and paint and glass with sizes ranging from
mere inches to 35 feet.
Because of the illuminating'quality of
Chihuly’s bright, colorful work, the Joslyn has
placed his pieces on floors, walls and windows
throughout the entire museum, both inside and
out of the usual gallery setting.
“We made quite a number of substantial
modifications to both gallery and public loca
tions,” said Janet Farber, associate curator for
20lh century art at the Joslyn and the curator in
charge of the Chihuly exhibition: “This has
involved the work of structural engineers, a
wonderful construction team and a lot of elec
tricians as well.
“His work really thrives on the perfect light
ing conditions, and we went to great extremes
to provide those conditions,” she said.
Chihuly often works in series, so the exhibi
tion encompasses a wide variety of his cre
ations. Pieces as diverse as those from his
“Chandelier” series of hanging glass structures
mounted on steel frames, and his “Persian”
series, which hint at the antique styles of Near
Eastern and Venetian glass, will be exhibited.
They’re arranged as wall-mounted sprays of
flared colored glass to create an enchanting
» Inside and Out
•• "C WHERE: Joslyn Art
> V Museum, 2200 Dodge St.,
** Omaha, Nebraska
.. J' > WHEN: Feb. 12 - June 4
COST: $6 for adults, $4 for
f THE SKINNY: Chihuly
work transforms glass into
mi ■■■■ art.
With the exhibition also comes the perma
nent installment of a piece Chihuly specifically
designed for the Joslyn’s atrium. The work is a
35-foot high, 24-foot wide structure composed
of hundreds of blown glass shapes attached to a
steel frame shaped like an inverted sail.
Farber said it was exciting to present an |
.......... -.-.—.. I
Please see GLASS on 11
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