Choreography by John Jasperse
Music by John King
Choreographer John Jasperse (Canyon, 2011 Next Wave) returns to BAM with a dance rumination on our existence in time. With a 30-plus-year presence in the downtown experimental scene, this veteran mines his own legacy and lineage, sampling fragments and phrases from the radical practices of his forbears while repurposing them within the contemporary present. Featuring a score by composer John King (Black Mountain Songs, 2014 Next Wave), dancers Maggie Cloud, Marc Crousillat, Burr Johnson, Heather Lang, Stuart Singer, and Claire Westby engage in a push and pull of return and reinvention, constructing an altogether new vision of our as-yet-unimagined future while reflecting on the remains left in our wake.
Additional music by Javier Peral and Die Antwoord
Visual design by John Jasperse and Lenore Doxsee
Costume design and construction by Baille Younkman
Lighting design by Lenore Doxsee
Co-commissioned by the American Dance Festival and Brooklyn Academy of Music. The work was made possible by support from the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts; the MAP Fund, a program of Creative Capital, supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation; the National Endowment for the Arts; the NYC Department of Cultural Affairs; the James E. Robison Foundation; the Bossak/Heilbron Charitable Trust; and the Harkness Foundation for Dance.
Remains was developed during residencies provided by Jacob’s Pillow Dance Festival, Baryshnikov Arts Center, the 92nd Street Y Harkness Dance Center, the Maggie Allesee National Center for Choreography (MANCC) at Florida State University, and DANCECleveland at the University of Akron. A final production residency was hosted by The Richard B. Fisher Center for the Performing Arts at Bard College.
Choreographer John Jasperse and choreographer Tere O’Connor discuss the value of embodied knowledge and a continued commitment to movement based investigations in dance.
Students play with different manners of experiencing and embodying John Jasperse’s choreographic material.
Celebrated choreographer and painter Shen Wei presents a danced realization of Morton Feldman’s 1977 anti-opera for orchestra and soprano, featuring a 16-line libretto by Samuel Beckett.
Belgian choreographer Anne Teresa De Keersmaeker returns with a dance meditation on late French composer Gérard Grisey’s spectral 1996 masterpiece.
Brooklyn-based choreographer Faye Driscoll makes her BAM debut with the second work in her Thank You For Coming trilogy, exploring the fractured nature of language.