This site includes an MP3 of "Dink's Song," as well as lyrics and one story about the song's origin. "Dink's Song" is a the traditional folk song Bill T. Jones sings in "Ghostcatching."
This brief entry outlines the history and variations on the traditional folk song titled, alternately, "Dink's Song," "Nora's Dove," and "Fare Thee Well." Bill T. Jones sings this song during one portion of Ghostcatching.
This page provides the lyrics to "Dink's Song," one version of the traditional folk song Bill T. Jones sings in Ghostcatching.
Scroll down this page to the section titled, "Fare You Well." Here you'll find MP3s of this song, which is a version of the folk song Bill T. Jones sings in Ghostcatching.
This Web site provides a general overview of Ghostcatching and includes several images and a short video clip. The visuals, along with brief textual explanations, help to elucidate the process of creating this work.
This link leads to a rich YouTube collection of Bill T. Jones’s performances, interviews, and classes.
This page compiles links to other projects that use technology in dance. On the top of the page, additional links under "Categories" lead to sections on the use of technology in notation, software, and stagecraft. This Web page is part of a larger directory that provides links on many types of dance.
The OpenEnded Group is a digital art collaborative formed by Paul Kaiser, Shelley Eshkar, and Marc Downie, the first two of whom worked on Ghostcatching. There are brief biographies of the participants, information on their past, current, and future works, and an interesting archive of individual posts of their own inquires and observations.
This Web site compiles many resources on dance and dance history. Such links as Dance Timeline from PBS and Modern Dance Tutorial, help contextualize Ghostcatching within the history of dance.
Thecla Schiphorst, one of the original designers of Life Forms, a computer choreography tool, elaborates on Cunningham’s use of technology to explore new movements in his choreography, and his varied uses of computer programs in creating new sequences of movement. Images of computer-generated dance figures, along with related quotes by Cunningham, illuminate the process.