Tr acing the artistic, political, and significatory impulses in the work of influential and incisive choreographer and dancer Bill T. Jones over the past 20 years, these articles investigate the multivalent impact of Jones's life and art on audiences and critics. Through his performances and his own words, Jones continues making work that is, as Barbara Browning writes, “inevitably personal and political, difficult, and engaged with the world.”

Each of the eight movements of Johnson's performance reflects a different aspect of his identity around which his queerness pivots. The movements range from drag to black masculinity to how Johnson negotiated race, gender, and sexuality in Ghana. Johnson's performance—utilizing slides, music, voice-overs, and dance— encouraged audience participation.