Bill T. Jones/Arnie Zane Company in
Bill T. Jones, Co-Founder & Artistic Director
Janet Wong, Associate Artistic Director
Featuring The Company
Barrington Hinds
Jada Jenai
Shane Larson
Danielle Marshall
Jacoby Pruitt
Hannah Seiden
Philip Strom
Mak Thornquest
Rosa Allegra Wolff
Huiwang Zhang
Conceived, Choreographed and Directed by Bill T. Jones
Visual Concept and Media Environment by Gretchen Bender
Lighting Design by Robert Wierzel*
Costume Design by Liz Prince
“Still” music composed and lyrics arranged by Kenneth Frazelle
“Still” music recorded and performed by Odetta
“Still” music recorded and performed by Lark String Quartet with Bill Finizio, Percussion
“Denial” monologue written by Lawrence Goldhuber
“Here” music composed and arranged by Vernon Reid
“Here” music recorded and mixed by Bradshaw Leigh and Vernon Reid
*Denotes Member of the United Scenic Arts Union (USA)
Original Cast
Arthur Aviles
Gabri Christa
Josie Coyoc
Torrin Cummings
Lawrence Goldhuber
Rosalynde LeBlanc
Odile Reine-Adelaide
Daniel Russell
Maya Saffrin
Gordon F. White
Original Production Staff
Kelly Atallah, Gregory Bain and James Irvine
Programming and Production Staff
Kyle Maude, Producing Director
Alexander Roberts, Production Manager
Megan Dechaine, Production Stage Manager
James Bennett, Audio/Video Manager
Eric Norbury, Lighting Supervisor
Serena Wong, Lighting Supervisor
Dylan Richmond, Company Manager
Victoria Beck, Costume Construction
New York Live Arts Staff & Board
Artistic Leadership
Bill T. Jones
Artistic Director
Janet Wong
Associate Artistic Director
Programming, Producing & Engagement
Kyle Maude
Producing Director
Hannah Emerson Jernigan
Producer
Dylan Richmond
Company Manager
Production
Chanel Pinnock
Director of Production
Leo Janks
Lighting Manager
James Bennett
Audio/Video Manager
Megan Dechaine
Production Stage Manager
Tricia Navigato
Assistant Production Manager
Creative Director
Bjorn G. Amelan
Executive Leadership
Kim Cullen
Executive Director & CEO
Ali Burke
Chief of Staff
Development
Nina Phuong Ha
Development Manager
Julie Davis
Special Events & Donor
Engagement Manager
Felix Reyes
Institutional Giving Associate
Finance
Nupur Dey
Chief Financial Officer
Manathus Dey
Finance Associate
Operations
Gregory English
Operations Manager
Marcus Retegues
Facilities Coordinator
Adalid Nunez-Mendoza
Custodial Assistant
Communications
Tyler Ashley
Director of Communications
Augustus Cook
Digital Marketing Manager
Taylor Adams
Communications Manager
Liliana Dirks-Goodman
Graphic Designer
Pentagram
Pro-Bono Branding
Front of House Staff
Julia Antinozzi, Ezra Mitchell,
Jailyn Phillips-Wiley, Sabrina
Herbosa-Reyes, Calley Luman, Cove Haselton, Campbell Ives, Paulina Meneses, Jessy Crist, Johnny Mathews, Danielle Chu, Artie Ticknor, Cristina
Moya-Palacios, Salma Kiuhan, Jonathan Fahoury, Truth Colon
Board of Directors
Alan D. Marks Chair
Helen Haje Vice Chair
Slobodan RandjeloviĆ Vice Chair
Darnell L. Moore
Treasurer
Aimee Meredith Cox
Secretary
Bill T. Jones
Artistic Director Ex-Officio
Kim Cullen
Chief Executive Officer Ex-Officio
Bjorn Amelan
Sarah Arison
LaToya Ruby Frazier
Stephen Hendel
Charla Jones
Colleen Keegan
Richard H. Levy
Amy Newman
Randy Polumbo
Ellen M. Poss
Matthew Putman
Jane Bovingdon Semel
Ruby Shang
Catharine R. Stimpson
Wade Turnbull
Board Emeritus
Derek Brown
Terence Dougherty
Eleanor Friedman
Advisory Council
Margaret Doyle
Alberta Arthurs
Beverly D’Anne
Lisa Frigand
Jenette Kahn
Susan Micari
Alton Murray
Lorraine Gallard
Lois Greenfield
Martha Sherman
At the heart of Still/Here are the Survival Workshops: “Talking and Moving about Life and Death.” The first was conducted in November 1992, in Austin, Texas, as an experiment to see what, if anything, could be collected from the experiences of people living with lifethreatening illnesses that would inform a dance/theater work. After it was completed, we realized that the participants living on the front lines of the struggle to understand our mortality are in possession of information—is their knowledge a gift or is it a burden? The participants’ generosity of spirit and willingness to express their experience both with words and gestures was both exhilarating and terrible. They are the essence of Still/Here: their gestures inform the choreography, their words the lyrics, their images the stage. They will always be Still/Here. This work is dedicated to them.
Shannon Baker
Valeria Banks
Adi Bemak
Devon Blakely
Ellen Bragal
Luana Branscom
Robert S. Brooks
Lisa Brunel
Antonia Burke
Tana Christie
Donald Corman
Jason Creager
Margaret Crosson
Chris
Marilyn De Groot
Kimmesha Doe
Sessum Dunn
Tamika Dunmeyer
Sunny Dupree, Esq.
Cindy Dyas
Mary Eskridge
Sheila Feinknopf
Maxine Flynn
Christopher Fons
David Garay
Michele K. Gill
Bonnie Godbey
Jake Goeller
Gloria Goldhuber
Floyd Goode
Tammy Griffey
Jennifer Hagerty
Jay Hanson
Arthur Hardy
Beverly Hazelmyer
Edith B. Herrold
Elizabeth J. Higgins
Rebecca Hoffman
B. Michael Hunter
Alvario Ilgia
Paco A. Infante
Hope Jinishian
Laura K. John
Gary L. Jordan
Najah Joseph
Ron Kephort
Nicholas Lahadge
Scott A. Lehman
Thomas Lambert
Carol MacVey
Arnie Malmon
Stephen M. Marcello
Jaclyn Mellinger
Doug Miklos
Micheal Milligan
Maxine Obrecht
Andrea E. Reimer
Scott H. Richardson
Ray Ricketts
Juan Rivera
Sam Rivera
Ann Rivers
Carolyn Rosner
Martin Rozenman
Assotto Saint
Leo Salera
Alberto Sandoval
Barbara Schrading
Pamela Simpson
Tawnni Simpson
Faye Simmons
Musette Sirmons
Javier Soles
Mae-Shen Tan
Cathy Tubb
James Turcotte
Frank Lincoln Viner
Jean Wassell
Ruth Westerman
Suzy Watson
Christopher Wey
Karen Gerald Wheaton
Bobby Williams
David Wolfe
Keith M. Woods
BILL T. JONES
D I R E C T O R / C H O R E O G R A P H E R
COURAGE NECESSARY TO PERFORM THE ACT OF LIVING
Still/Here has proven to be a rich journey for me as an artist and a citizen of the late 20th Century.
As an artist, I have been rewarded by the culling of the moving, profound testimonies and sincere, spontaneous gestures that can only be found by stepping outside the realm of dance and into community. This material has given me new insight into the potential of gesture and the profound ritual that is theater.
As a contemporary person, beset with all the modern anxieties, uncertainties and fears, I found comfort and vital information necessary for those facing lifechallenging situations and otheirs.
My intention since tne onset of this project has been to create a work, not as a rumination on death and decline, but on the resourcefulness and courage necessary to perform the act of living.
SOMTHING I’VE NEVER EXPERIENCED BEFORE VERNON REID
C O M P O S E R
On the surface, Still/Here is about people with life-threatening illness. But these people are still alive, and it shows how selfless and courageous they’ve become. In working on Still/ Here - I was forced to confront my own finite-ness, which is something I’ve never experienced before.
LIZ PRINCE
SOMTHING THAT SHIMMERED
C O S T U M E D E S I G N E R
It has been thrilling and deeply humbling to revisit our work on this profound piece 30 years later. To remember and honor all those who were a part of the first version and be inspired and compelled to further explore this work with the current artists has been an exciting and challenging endeavor.
I bow down in gratitude.
ROBERT WIERZEL
L
I G H T I N G D E S I G N E R
Lighting, in dance at least, is sometimes the ‘’thread’’ that binds a piece together, moving seamlessly from one idea to another, thus allowing the movement to speak on its own terms. It is in this way that Still/Here speaks very powerfully.
ORGANIC AND CONNECTED
I want the light to be able to reveal the inner beauty of the piece, in a way that is hopefully organic and connected. Through my part of this collaboration, I hope Still/Here will reach a part of you and help you see your world in a new perspective.
Odetta, Folksinger
It has been a joy to witness an approximation of a vision. Through love, patience and encouragement, I have been allowed to participate in the crystalllizing of a dream. I am eternally grateful to Bill T. Jones and Ken Frazelle for guiding me through, and to this magnificent realization and uplifting of spirit. I thank and bless all who have taken part in this beautiful production Still. Go well, stay well.
Finizio, Percussionist
It is a privilege and an honor to be a part of this powerful project, which will deeply touch all those who experience it.
The Lark Quartet
Eva Gruesser, violin
Jennifer Orchard, violin
Anna Kruger, viola
Astrid Schween, cello
Working with Bill T. J ones, it was immediately obvious that he had a tremendous profound vision. Our challenge in playing the music for Still was to evoke, musically, the primal images and feelings of the Survival Workshop participants.
Bill
Still lyrics (except for Traditional Gospel and Gloria: Happinesss) selected and arranged from dialogue of the Survival Workshop participants by Kenneth Frazelle.
Prologue: Still Still. Still. Will someone plea e open the door? Still. The Eyes Anonymous Test Site 1
Her eyes
Her eyes
I remember her eyes. She called me into the room. I could see it in her eyes. The disappointment. The appointment.
“Let’s have it straight up-yes or no.”
I just sat there. I couldn’ t Listen. I was blank. Beyond words.
She didn’t even get to shut the door.
Slash, Poison, or Burn
Slash, poison, or burn. These are your choices. Slash, poison, or burn. Nobody wants to hear.
I’m still a woman
But a part of me is gone. Apart. Slash, poison, or burn.
Almost like burying a child. A part of me has died .
Denial Not me. I’m not my illness. I’m still in denial. No, not me. I won’t face it. I won’t look in the mirror.
I love denial I think it works.
There are points in horror. Points in fear. When I hope to rely on denial.
My illiness is not me. In my heart I know I’ll be cured. I need to be alive. Alive.
Gloria: Happiness
Monologue by Lawerence
Goldhuber
I remember one Sunday afternoon. I saw my mom standing by the kitchen sink, she was bald, her body thin, skin translucent from the chemotherapy. So I told her she looked like a sperm. She didn’t think it was funny (either).
I remember one Saturday evening my parents were getting ready to go to dinner, when my mom started having trouble touching her nose. Well, by the time I got to the hospital she was being shaken by seizures. This was when I first realized that she was going to die. Not when she had the mastectomy, not even when they found the mestastases, but when I saw her lying there, the life gone from her eyes, when I saw my father’s eyes, helpless (I’d never seen that before).
It was about a year later on a Sunday afternoon, my mom was sitting in her chair, just disappearing into the cushions.
She had pretty much stopped talking by then. She could only gesture to ask for a kiss. People had been coming over to the house all month, to say good bye, I guess. Alice, Alice, Alice couldn’t even look at her and ran in the bathroom to cry.
But not me. I’ve seen this kind of death a lot lately. Y’know the slow, bit by bit kind. I can just go on pretending like it’s normal, because it‘s become normal. Ever since I watched Arnie die six years ago, well it’s been pretty much nonstop.
And it’s always the same. Except this time, because it was my mother, I had to deal with the family as well. With all that emotion, all that tension, wound so tightly, it had to snap somewhere. I insulted my Aunt and we haven’t spoken since six days before her sister Gloria died. At first she wouldn’t talk to me. Now I won’t speak to her. But y’know, I really don’t want to get into all that.
The Eyes
AnonymousTest Site II
Alone
On a stone bench. It couldn’t hold me. I put my sunglasses on And cried for a long time.
People going by on Flatbush. Very noisy.
Could they tell
What just happened to me?
The hardness of the stone bench Couldn’t hold me.
Now
I can’t see
But everyone holds me.
People who have died are underneath me
Holding me up.
I’ll just slip out.
Seen
The eclipse of something. Betrayed. Did I think I’d escape?
I assaulted God. The next morning He was in me.
Traditional Gospel
You may run on for a long time,
Run on for a long time,
Run on for a long time,
But let me tell ‘ya, God Almighty’s gonna cut you down.
Go tell that long-tongued liar,
Go tell that midnight rider,
Tell the gambler, rambler, backbiter,
Tell ‘em God Almighty’s gonna cut you down.
Great God Almighty, let me tell you the news,
My face been wet with the midnight dews.
I’ve been down on my bended knees,
My God spoke, he spoke so sweet,
Thought I heard the sound of angels’ feet,
He put his hand on my head,
Great God Almighty, let me tell you what he said.
You may run on for a long time.
Run on for a long time, Run on for a long time,
But let me tell ‘ya God Almighty’s gonna cut you down.
Got tell that long-tongued liar,
Got tell that midnight rider,
Tell the gambler, rambler, backbiter,
Tell ‘em God Almighty’s gonna cut you down.
Quick God Almighty, let me tell you the news,
Talking to the man from Galilee.
My face been wet with the midnight dews.
I’ve been down on my bended knees,
Talking to the man from Galilee.
My God spoke, he spoke so sweet,
Thought I heard the sound of angels’ feet.
He put his hand on my head,
Great God Almighty, let me tell you what he said.
You may run on or a long time.
Run on for a long time,
Run on for a long time, But let me tell ‘ya God Almighty’s gonna cut you down!
Epilogue
Will someone please open the door?
Can I get a drink of water? Will I be a part of the water?
The touch of hands
I’m still here.
I’m on a wave being moved.
I’m flying. Still. Slill.
Still here.
Texts sampled by Vernon Reid from Survival Workshops recordings.
The sampled text presented here does not include repetitions as they occur in the soundtrack. They are provided merely to give an impression of the Survival Workshop dialogue which appears in Mr. Reid’s work.
Section 1
Can you run it?
Can you run your Life?
Can you run it?
Can you run your life forward or backwards?
Forward or backwards?
The name game. Bill.
Everyone’s connected to somebody.
Forward or backwards? ... four, five, six, seven
Can you run your life forward or backwards?... six, seven
Forward or backwards?
Forward and backwards ... six, seven... ... three, four, five, six, seven
Section 2
Everyone’s connected to somebody.
Everyone ‘s connected to somebody.
Tell me. Tell me.
Tell me how to fight.
Tell me how to fight this disease because I am going to win.
I’ve been pondering. I thought, bitch, did you think you would escape? And the truth
of the matter is, yes.
Tell me how to fight ... because I am going to win.
And they explain things to you and you say fine. And they’ll say do you understand what I’m saying? I said what do you want me to do? Put on widow’s weeds and ashes and sit and cry in a corner? Forget it.
I’m stepping in and out of reality.
Let the film play in your head.
I’m stepping in and out of reality.
There’s a place.
There’s a place.
There’s a place for denial.
I don’t need this in my life.
There’s a place. There’s a place ... will you get to heaven?
There’s a place for denial ...
will you go to hell?
There’s a place. Say you’re angry.
There’s a place. Angry.
There’s a place for denial.
I have so much anger about so many things that I can put this one in line.
There’s a place. Where are you?
There’s a place. Is it a familiar place?
There’s place for denial.
Before I was diagnosed, I was walking around with my eyes closed.
Tell me how to fight.
Tell me how to fight.
Tell me how to fight... (song overlap) “Sister Mary, she came running, to see her lovin’ son.”
Tell me how to fight ... (song
overlap)
Sister Mary, she came runnin,.’...”
I’ve been pondering. I thought bitch, did you think you would escape? And the truth of the matter is, yes. I did think I would escape.
The only word I really saw on that entire page was ‘’positive.”
Sectiron 3A
Bill’s 21 Poses
T’ai Chi Ch’uan ward off
Pregnant Penn State housewife
Antiquity
Waiting
Male beefcake
Pele Before and after
To the groin...
19th century melodrama.
Eek? A mouse!
Ingmar Bergman. 0h, my God. I don’t know.
Nudist
Art deco
Pittsburgh Steelers
New York Yankees
Apollo Belvedere
Adam before and after
God too can go to hell
Vocabulary
I became an immigrant with a one way ticket to here and there’s no return ticket to die or be buried here. Will I be part of the water?
Can my friends remember me with a smile of those moments shared? Not sadness. I try to be a very rational person, but being with all of you... you know,
we have crossed the border, la frontera, and I see to it myself, I see to it, my plane, and my angels, on la frontera. At the same time, I have learned to live day by day, night by night. And I think we’re all searching for a language ... like, I want to know my diagnosis and I never know what’s next.
Section 3B
Bill’s Questions
I’m here today to dig a little bit deeper.
I’ve got to dig .. And now I’m digging.
What will it be tomorrow?
What comes after this? Perhaps I fail ...
Perhaps I triumph ...
Perhaps just keep digging ...
What was the room like?
A small, little room with a desk and two chairs.
What color was it?
Beige, you know, the usual rooms.
What was she like?
She was very sweet.
White or black?
White and very sweet.
What color hair did she have?
Black hair.
And her eyes?
I remember her eyes, because when she looked at me, I knew he results. Even though I knew the results ... What do you mean...knew...her eyes?
They call you by a number into he room and I was number A 101.
Let’s say that everybody. A 101.
So when she looked at me, I saw the disappointment in her face and I knew.
Section 4
Tawnni’s Blues
She plunges in with both feet
Starts college
Denial
Superwoman, eighteen hours
Can do it
Swimming hard
Hits a blockade
Peaks and valleys get closer peaks and valleys get closer, peaks and valleys get closer, peaks and valleys get closer, peaks and valleys get closer In and out of the hospital, in and out of the hospital, in and out of the hospital, in and out of the hospital, in and out of the hospital, in and out of the hospital, in and out of the hospital, in and out of the hospital, in and out of the hospital
education stays in the mind.
People say your light will still shine. Your light will still shine, your light will still shine.
Sometimes when she looks up, Tawnni finds that little light has an image of a giant locomotive heading towards her to steam her over.
My name is Tawnni Simpson. I’m 25 and I think about sex. I like sex but ... it’s hard and it’s been a long time unfortunately. Getting into the sex. I hink about if I’ll veer have that companion again ... that will love me for my abiities because sex is something that’s hard for me because of my lung illness. But I wonder if I’ll ever be able to share that again with anybody because it can be very beautiful and I don’t want to just share it with any Dick. I can’t say Jane because I’m not that type.
So starting off on the good note, I think about my future because... I’m Title Nineteen and I feel like I’m owned by the government.
I think about why the hell me?
Why am I still living and all my friends that I’d been in and out of the hospital with are all dead? Why am I living?...I think about that constantly.
But I try not to dwell on it because I’m special...that’s what everybody says, you’re special. God has plans for you .... That leads me to the question, why do I believe in the religion that I do? I’m a Baptist, yet I sometimes wonder... if my God out there is the true way to go.
I ask questions. I’ve grown up in a Christian home and my God is taking care of me and we have the biblical scripture to rely on but who says that biblical scripture is not phony.
in my own religion. Bul I question my religious growth... where it goes from now.
I think about pizza a lot. I love pizza. I don’t look like I love pizza. I’m very thin. But I wake up dreaming about taco pizza from Happy Joe’s.
My friends
My family
They’re my hope.
One, two, three, four, five, six, seven ... My inner being is my hope.
It gives me the strength ...
One, two, three, four, five, six .. .
Breathing to me is completely. . .
Yet the books stay open and the
My mom would shit in her pants if she heard me say this but it’s the truth because she thinks that God is the way to go. I question that sometimes. It’s okay to question. It might bring me to honest doubt and bring me stronger
... do gymnastics like I used to be able to do
To dance
Freedom
Helping others
Smiling
Danse Macabre
My body
Can feel like a demon
In my head
Or music to my ears
And I’m thankful
For my life
... no control. The doctor’s are in control and they feed me poisons. which are working but I have no control. The doctors are in control and they feed me poisons which are working, but I have no control. The doctors are in control and they feed me poisons which are working ....
My body
Can feel like a demon
In my head
Or music to my ears.
What does it mean? And he said its inoperable and its terminal. It can’t be cut out. But, they’re gonna have to run like hell to find me because I told Doctor Dunn again, I’m not checking out.
I didn’t need it.
But it came anyway.
And now I’ve discovered there’s a joy in it. And I will conquer it.
There’s birth and there’s death and in-between there’s life. And the joke is God doesn’t tell you when you’re going to die.
That’s some joke, isn’t it?
Hell of a joke.
Section 5 Hope And
Hope.
There’s Hope. Hope’s with the stripes. Can you hold your hand up, Hope? Say the voice. Say your name, Hope. How auspicious...we have the goddess of hope here today. Did I plan it, right? All right now, Hope, just lean over here. Lean a little bit into David, okay, just supported. Now Hope, just allow yourself to be passed around. Just allow her...Pass Hope around. Excuse me if I get too poetic today. Try again, Hope. Just lean. Let the group take you around. There she goes. Don’t let her fall. Don’t drop Hope. Okay. Good.
When I was young, I was impatient. I was selfish. I was a bully. When I became sick, pain overcame me. I overcame the pain to stand up straight and face the world...is the hope which I have. The same kind of hope that I have given myself throughout
my entire life when adversity is supposedly apparent. Did I think I would escape? Yes. Do I think that my death will be a celebration for me? Yes.
The questions that people who face a serious illness have are questions that all thoughtful adults have, they just don’t think about. What a serious diagnosis does is make you think about them.
I really feel sometimes that I was somewhere. Sometimes I feel like, as strange as it may sound, like a webbed foot coming out the side of my foot as if I was an animal of some sort, in a past life, it’s... really strange,..odd, but I feel it.
Most people think, well, there is always tomorrow. You know, 1 don’t worry about all that.
... a fabulous life.
I’ve got to do some things that I
normally might have put off.
...but I have a fabulous life.
l have already lived so many of the valleys. The key is just making it to the next day sometimes, so that you could get to the peaks.
Well, when they told me the side effects of the therapy - nausea, vomiting, upset stomach, diarrhea, constipation, and your hair will fall out - the only solace I had was my hair would fall out, because it was aleeady falling out. So they couldn’t really get me there.
...I kept sinking lower and lower and then I started to come out of it and realize that I was still alive and I still was whole...besides dying and being alive again.
I’m dealing with a lot of things in my life such as incest, vodka, and the guilt. I have anger, and because all of that, I started smoking. Anything to get away.
economy, the African-American family, our foreign policy, new world order, freedom, peace on earth, and stop the violence.
Whistling Begins.
Section 6
How could you conceptualize your life if you could draw it as a line?
One smooth line.
Walk your life.
Go to your birth. To your first place. Where did you start?
Let the film play in your head.
Walk us through it.
Tell us a few stories along the way.
We’ll follow you.
Where does it start?
Where does it go?
And try to imagine where it ends.
right to your death.
What time of day is it?
Where are you?
What’s the room like?
Who’s there?
How do you look?
Are you alone?
Can you picture your death?
Can you picture it and can you own it? Can you be responsible for it?
So, it‘s the last moment now. This is finally it. What’s the last thing you see and the last thing you say?
When that part’s over, what happens after?
End
I’m concerned about our
Take us to your death,
THE SURVIVAL WORKSHOPS: Talking and Moving About Life and Death
Bill T. Jones/Arnie Zane Company wishes to acknowledge Nancy Gambuzza of IMG Artists for her work in planning the Survival Workshops, as well as all of the volunteers and staff members of the participating organizations too numerous to mention here.
Austin, TX : November 5, 1992
Organized and Sponsored by:
Pebbles Wadsworth, University of Texas at Austin
Survival Workshop Participants:
Tana Christie - Margaret CrossonSessum Dunn - Chris - Tammy Griffey
- Scott A. Lehman - Stephen M. Marcello
- Ann Rivers - Mae-Shen Tan - Cathy Tubb
Special Acknowledgements:
Charles Santos - Woody McGriff, Austin Dance Department - Arthur Aviles.
New York, NY: January 23, 1993
Organized and Sponsored by:
Shawn Ruff, Foundation for Dance Promotion
Survival Workshop Participants: Shannon Baker - David Garay -
Elizabeth J. Higgins - Alvario Ilgia
- Juan Rivera - Sam Rivera - Assotto
Saint - Javier Soles - Frank Lincoln
Viner - James Turcotte
New York, NY: April 24, 1993
Organized and Sponsored by:
Shawn Ruff, Foundation for Dance Promotion
Survival Workshop Participants:
Sunny Dupree, Esq - Arthur Hardy -
Elizabeth, J. Higgins - B. Michael Hunter
- Gloria Goldhuber - Keith M. Woods
Pittsburgh, PA: November 19, 1993
Organized and Sponsored by:
Carolelinda Dickey, Pittsburgh Dance
Council - Jeanne Pearlman, Three
Rivers Arts Festival
Survival Workshop Participants:
Marilyn De Groot - Maxine Flynn
- Doug Miklos - Ray Ricketts - Leo
Salera - Barbara Schrading - Pamela
Simpson - Musette Sirmons - Ruth Westerman
Assisting Organizations:
ALS Association- Burger King Cancer Caring Center- Make a Wish Foundation - Minority AIDS Working Group- Persad Center- Pittsburgh AIDS Task Force, Race for the Cure- Transplant Recipient
International Organization
Special Acknowledgements:
Howard Heinz Endowment/Pittsburgh Foundation Multi-Cultural Arts InitiativePennsylvania Council on the Arts
Philadelphia, PA: November 21, 1994
Organized and Sponsored by:
Josey Stamm, Network Arts
Philadelphia and Randy Swartz, Philadelphia Dance Affiliates
Survival Workshop Participants:
Helana Agi - Kim Dolan - Sarah Faison -Keisha M . Michael- Catherine Rosenberg - Lucile Smith
Assisting Organizations: The University of the Arts
Special Acknowledgements:
Joan Applegate, Childhood Cancer Program, American Cancer SocietyBen Balmer, BETAK- Jerry Carter , Fox Chase Cancer Center - Krista Friedrich, Make-A-Wish Foundation - Thomas Morris, LSW, Thomas Jefferson Hospital - Doris Sterner, LSW, Ronald McDonald House - Sister Joanne Whitaker, Calcutta House
Columbus, OH: December 8, 1993
Organized and Sponsored by:
Charles Helm, The Wexner Center for the Arts at The Ohio State University
Survival Workshop Participants: Mary Eskridge - Martin RozenmanSheila Feinknopf - Beverly HazelmyerFloyd Goode- Micheal Milligan - Robert
S . Brooks - Cindy Dyas
Assisting Organizations :
James Cancer Hospital - Martin Luther King Jr. Performing and Cultural Arts Complex
Special Acknowledgements:
Dr. David Schuller - James Cancer Hospital -Mary Ann Joseph, R.N. - Barbara Nicholson, Sandra Smith, Martin Luther King Jr. Performing and Cultural Arts Complex
University Park, PA: December 9, 1993
Organized and Sponsored by: Ken Foster, The Center for the Performing Arts, The Pennsylvania State University
Survival Workshop Participants: Devon Blakely - Donald CormanBonnie Godbey - Scott H. Richardson - Christopher Wey
Assisting Organizations : Centre Community Hospital, AIDS Project
Special Acknowledgements:
Bonnie Marshall, Judy Underwood and Dean Shrock, Centre Community Hospital - Meg Davis, AIDS Project
The source material for Still/Here was selected from these Survival Workshops which were lead by Bill T. Jones, assisted by Bjorn Ameian and filmed by Gretchen Bender.
Boston, MA: December 12, 1993
Organized and Sponsored by:
Jeremy Alliger, Dance Umbrella
Survival Workshop Partio·pants:
Adi Bemak - Ellen Bragal - Antonia Burke - Rebecca Hoffman - Hope Jinishian - Nicholas Lahadge - Susie Nguyen - Alberto Sandoval - Faye Simmons - Jean Wassell - David Wolfe
Assisting Organizations:
AIDS Action Committee - Multicultural AIDS Consortium - Wellness Center
Special Acknowledgements:
Barbara Albers, Deaconess HospitalStephen Chen, Dance Umbrella Board of Directors- Harold Cox, AIDS Action Committee- Maureen Costello, MIT Office for the Arts - Kathy Freedberg, MA
Breast Cance Coalition - Jim Field, CMACGinny Finn, New England · Medical Center- Peggy Gillespie- Joan Green - Hester Hill, Beth Israel Hospital- Cynthia Madeiros, Dana Farber Institute - Maurice Malchiono, Childrens Hospital - Jennifer Matias, Wellness Center - Marilyn Mulligan, Community Family- Guillermo Rivera- Pagan, Project Place- Louise Pascal, Very Special Arts, China Trade Center- Dr. Miichael Shannon, Dance Umbrella Board of Directors - Marian
Taylor, Dept. of Public Health - Gina Vild,
Dana Farber Institute - Fran Wiles, In the Best Interests of the Children
Iowa City, Iowa: January 31, 1994
Organized and Sponsored by:
Wallace Chappell, Hancher Auditorium on the Campus of the University of Iowa
Survival Workshop Participants:
Ron Kephart - Carol MacVeyMaxine Obrecht - Tawnni Lynn Simpson - Karen - Gerald WheatonBobby Williams
Assisting Organizations:
Iowa Center for AIDS/ ARC Resources & Education (ICARE) - University of Iowa Hospitals and Clinics (UIHC)/ Project Art (PA)
Special Acknowledgements: Laura Hill, Iowa Center for AIDS/ARC Resources & Education (ICARE)Joyce Summerwill, University of Iowa Hospitals and Clinics( UIHC)/Project Art (PA)
Milwaukee, WI: February 20, 1994
Organized and Sponsored by:
Bruce Marquis, University of Wisconsin at Milwaukee
Survival Workshop Participants: Valeria Banks - Luana Branscom-
Christopher Fons - Jay HansonEdith B. Herrold - Arnie MalmonAndrea E. Reimer - Suzy Watson
Assisting Organizations: AIDS Resource Center of WisconsinAmerican Cancer Society/Wisconsin Division
Special Acknowledgements:
Timothy Baack, AIDS Resource Center - Maebe Brown, American Cancer Society - UWM Center for 20th Century Studies - Tim Hess, Milwaukee Ballet
Madison WI: February 21 , 1994
Organized and Sponsored by:
Michael Goldberg, The Wisconsin Union Theater
Survival Workshop Participants: Lisa Brunel - Jason CreagerJake Goeller - Gary L. JordanCarolyn Rosner
Assisting Organizations: The University of Wisconsin Clinical Cancer Center - The Madison AIDS Support Network - Wisconsin Public Television
Special Acknowledgements:
Carol Jefferson, The University of Wisconsin Clinical Cancer Center Eve Tai, Dale Johnson, Susan Fadness,
The Madison AIDS Support Network - Diane Kostecke, Mike Eicher, Curt Sorenson, Wisconsin Public Television
New York, NY: April 24. 1994
Organized and Sponsored by: Foundation for Dance Promotion
Survival Workshop Participants: Kimmesha Doe - Tamika Dunmeyer
- Michele K. Gill - Jennifer Hagerty
- Paco A. Infante - Laura K. John
- Najah Joseph - Thomas LambertJaclyn Mellinger
Special Acknowledgements:
Dr. Robin F. Goodman, New York
University Medical Center - Ann Marie
Rakovic, The New York Foundling Hospital - Alice Markowitz, David Grubin Productions
The recreation of Still/Here is produced by New York Live Arts with lead support from Brooklyn Academy of Music (BAM) and Dance Reflections by Van Cleef & Arpels. Additional support generously provided by ASU Gammage, Hopkins Center for the Arts at Dartmouth and UCLA’s Center for the Art of Performance.
The creation of new work by Bill T. Jones/Arnie Zane Company is made possible in part by the company’s Partners in Creation: Anonymous, Zoe Eskin, Eleanor Friedman, Ruth & Stephen Hendel, Suzanne Karpas, Ellen M. Poss, Jane Bovingdon Semel, in memory of Linda G. Shapiro, Slobodan Randjelović & Jon Stryker.
We especially thank Ed Bradley Family Foundation for their support of the remount of Still/Here.
Support for New York Live Arts is provided by the Arnhold Foundation, Blanchette Hooker Rockefeller Fund, Bloomberg Philanthropies, The Brant Foundation, Inc., Joseph and Joan Cullman Foundation for the Arts, Dance/NYC, Ford Foundation, Howard Gilman Foundation, Mertz Gilmore Foundation, Harkness Foundation for Dance, Marta Heflin Foundation, Alex Katz Foundation, Lambent Foundation, Alice Lawrence Foundation, Mellon Foundation, National Performance Network, New England Foundation for the Arts, One World Fund, The Poss Family Foundation, Jerome Robbins Foundation, The Fan Fox & Leslie R. Samuels Foundation, San Francisco Foundation, The Semel Charitable Foundation, Scherman Foundation, The Shubert Foundation, Tides Foundation.
Public support for New York Live Arts is from National Endowment for the Arts, New York City Department of Cultural Affairs in partnership with City Council Representative Erik Bottcher, Manhattan Borough President Mark Levine, and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature.
Special thanks to:
Gregory Bain, Kelly Atallah and New York Public Library for the Performing Arts
Original Commissioning:
Still/Here (1994) was Co-Commissioned by Annenberg Center, Brooklyn Academy of Music (BAM), Center for the Performing Arts of the Pennsylvania State University, Dance Affiliates, Hancher Auditorium at the University of Iowa, Lyon Biennale de la Danse, Networks Arts Philadelphia, On the Boards, Pittsburgh Dance Council, Three Rivers Arts Festival, The University of Minnesota/Northrup Auditorium, University
of Washington World Dance Series, Walker Arts Center, Wexner Center for the Arts at The Ohio State University, Wisconsin Dance on Tour 1994 Consortium. With additional support provided by Mary Flagler Cary Charitable Trust, National Endowment for the Arts, Northwest Area Foundation, One World Arts Foundation andThe Rockefeller Foundation.
Major support for the creation of Still/Here was provided by the Wexner Center for the Arts at The Ohio State University through its artist residency program funded by the Wexner Center Foundation during a four-week residency with additional support from the Performing Arts and Media Arts program.
Special Thanks to:
Dr. Maya Angelou - Helen Asquith, Amaya Distribution, Inc. - Jonathan Bender - Dawn Bennie - Martha Bonta, IMG Artists - Garth Clark and Mark Del Vecchio - Sunny Dupree - Christine Deussen, Clicquot Inc. - Dr. Robin Goodman, New York University - Jim Grant, Seriously Inc. - David Grubin and Alice Markowitz, David Grubin Productions, Inc. - Mirellle Guliano, Clicquot, Inc. - Heidi Haas, Wexner Center for the Arts - Joseph Hoffman, JH Travel Consultants- Christopher Hsieh, Papa Luis - Ellen Jacobs, Ellen Jacobs Associates - Andrea Kane -Dr. Helen Levine - Robert Levine, Levine, Thall & Plotkin - Rick Mashburn - Scott McLucas, One World Arts Foundation - Rory MacPherson, Lila Wallace Reader’s Digest Fund - Jim McLaughlin an1d Dayna Roberson, CBS Sunday Morining News - Sam Miller, Jacob’s Pillow - Bill Moyers - Gillian Newson, IMG Artists - Tim Nye and Ellen Salpeter, Thread Waxing Space - Linda Pratt - Mark Randall, World Studio - Len Rosenfeld - Russ Rosensweig- Suzanne Sato, AT&T Foundation - J’oanne Savio - Neil Seiling, ALIVE TV/KTCA - Joan Shigekawa, Nathan Cummings Foundation - Michael Simon, Levine, Thall & Plotkin - Elizabeth (IMG Artists) and Steve Sobol - Jeff Stabeneau - Staging Associates, Ltd./Staging Techniques - Greg Sutton, Kingsborough Community College - Technovision - Mitchell Wagenberg - Ed Zimmerman- Ellen Zisholtz-Herzog
Visit newyorklivearts.org to learn more about the Bill T. Jones/Arnie Zane Company. For information on ways to support the Company, please contact Executive Director & CEO Kim Cullen at kcullen@newyorklivearts.org or 212-691-6500.