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Bill T. Jones views on Art

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Bill T. Jones views on Art

Bill T. Jones steps in his office, and the area seems to dwindle. At 67, Jones possess this area the way he wanted the set in his dancing years. He has a beaming personality that is  massive as well as accommodated.

It’s not just that his lanky, immense frame hikes some pixels from the black wool beanie that rise virtuous.

A man of robust passion — for pleasing controversy, for massive productions, for off the radar music and free expression of many kinds. Bill T. Jones is a zealot for independent artist as he is one of them and he is rebellious.

“I want to talk about what it means to survive,” Bill T. Jones expresses in an assertive accent, “and what a life is.”

Bill T. Jones knows a lot about survival. His companion, Arnie Zane, died in his arms of AIDS-related causes in 1988. For him, Jones swear not to give up on the Dance Company they had discovered six years earlier, which he addresses “the child Arnie and I had together.”

He didn’t give up. Through his efforts like “Last Supper at Uncle Tom’s Cabin/The Promised Land,” which freed the racism, and “Still/Here,” using interviews with those struggling from death, Jones vigorously encouraged a well-earned reputation for solving the societal land mines even the most “woke” conversations tiptoe around.

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