What comes to mind when you think of your homeland? If you were to create a dance that was a love letter to your homeland, what would it look like?
Sharon Hoyer of New City Stage interviews our Artistic Director Meredith Sutton: “The Dance Center at Columbia College Chicago is a semi-hidden gem just off the path of big-name performance venues in the Loop…Some of the most memorable performances I’ve seen in my near twenty years of covering dance in Chicago have taken place on the Dance Center stage. Experimental work, student and faculty showcases, nationally and internationally revered artists have all rarified the Dance Center’s air for half a century.”
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.”