Corey Smith and Rachel Lindsay reflect on the March 2025 premiere of Nora Sharp’s COSMIC DOCKS at the Chicago Solo Spotlight Festival for Sixty Inches from Center: “Cosmic Docks is one part standup special, one part loop-pedal-karaoke, one part dance-with-an-uppercase ‘D.’”
Corey Smith and Rachel Lindsay reflect on the March 2025 premiere of THICK: a crumbling freak show by Jenn Freeman | Po’Chop at the Chicago Solo Spotlight Festival for Sixty Inches from Center: “The [performance] is a tour de force of Freeman | Po’Chop’s chops.”
It is with deep sadness that we share the news of the passing of our visionary founder, Shirley Mordine, who led the Dance Center from 1969 until 1999.
Red Clay Dance Company is gearing up for its concert series at the Dance Center of Columbia College Chicago and has been featured in New City, on See Chicago Dance, and several TV interviews - including WGN 9’s Midday Fix, Fox 32, and Chicago’s ABC 7.
Red Clay Dance Company’s upcoming program pairs two works created in collaboration with the dancers: Bebe Miller’s Field: New Ground and Vershawn Sanders-Ward’s Written on the Flesh. Asked about how it has been for the company to work with Bebe, for Vershawn it’s something of a full circle moment: “I’m still in awe. I don’t want to get all sentimental – it just reminds me of the specialness of the Dance Center.” Read about the two works and the collaboration between these two artists.
The Dance Center of Columbia College presents the first Chicago Artist Spotlight Festival, featuring works by distinguished Chicago dancemakers Ayako Kato, J’Sun Howard, SJ Swilley, and Erin Kilmurray and Kara Brody in works that expand the footprint of performance beyond the stage.
It’s LaTasha Barnes’ “The Jazz Continuum,” a communal celebration of Black American dance and music running March 7-9 at the Dance Center of Columbia College Chicago. Timelines collide as different eras of jazz dance and adjacent forms—tap dance, footwork, popping, break dance, line dance and more—blend together in a seamless juxtaposition of styles.
In the audio series portion of “The 1619 Project,” New York Times cultural critic Wesley Morris says that when he hears American pop music—jazz, R&B, soul, funk, disco, even yacht rock—he hears Blackness. Likewise (and inseparably) is American social Black dance, emerging and evolving alongside these genres: bodies unstoppably moved by syncopation and harmony, shot through with ripples of delight only a perfectly landed improvisation can provide. But improvisation lives in the new. And as Black artists push forms and culture forward, older styles can get left behind….
We’re really honored that New City highlighted our Artistic and Producing Directors as part of its Players 2024: The Fifty People Who Really Perform for Chicago. Meredith Sutton and Roell Schmidt, in collaboration with dance department chair Lisa Gonzales, are experimenting with ways to erase that “and” by “moving away from the ‘gatekeeper’ model of dance presenting.”
Recent praise for FLOCK & Artists’ Somewhere Between calls the Dance Center -- “arguably the best venue to see dance in Chicago!”:
Sometimes in duets, and most often as a six-dancer ensemble, Flock’s Somewhere Between continues to mesmerize with seamless transitions. We lose track of time. It’s not unlike the hypnotizing effect of a lava lamp. All is fluid. Transitions are so seamless we only realize they have happened in retrospect….
The Dance Center of Columbia College Chicago announces its 2022 Fall Season, which includes two performance series—Elevate Dance Chicago and B-Series B-All-Access: Celebrating Accessibility and Inclusion in Hip-Hop and Street Dance Culture featuring guest artist Bill Shannon. “At the Dance Center, we are honored to be able to hold the space for this work to take place, and for the coming together of community in celebration of the dancing body,” says Lisa Gonzales, Associate Professor and Chair of Dance at Columbia.
Critic Lauren Warnecke of The Chicago Tribune highlights the changes afoot at the Dance Center in her conversation with our director, Ellen Chenoweth.
