Saturday evening, May 3, the South Chicago Dance Theatre never looked better.
Their performance was rich in expression, choreographic styles, cultural influences, and heartfelt storytelling. The evening opened with the company premiere of Temporal Trance, choreographed by Frank Chaves, who was honored that night with the company's Cultural Hero Award.
The performance did not disappoint. It was dynamic, with choreography that captivated the audience, costumes that were simple and unrestrictive—allowing the dancers full range of movement—and lighting that transformed a stark black background into a canvas for art. The dancers, moving in pairs, became living sculptures—intertwined, fluid, and striking. The music complemented the flow of the piece without overpowering the artistry. Much of the choreography unfolded from the floor, showcasing the dancers’ physicality and grace. Their execution brought the audience to its feet.
Next came the world premiere of Folk, choreographed by Kate Weare. This piece felt modern but not futuristic. It incorporated Jewish and Italian folk music to explore the idea of “village” in contrast to the more insular concept of “tribe.” The dance celebrated community, emphasizing individuality within unity. This was reflected in the costuming: each dancer wore the same garment, yet styled differently—what was a leg sleeve on one became an arm sleeve on another—symbolizing shared identity expressed uniquely. Gender distinctions were subtly conveyed through movement, with both masculine and feminine energies on display, blending but never erasing their differences.
Under The Sun by choreographer Tsai Hsi Hung may have been the evening’s most powerful piece. The dancers, dressed in red—a color evoking passion, power, sexuality, and royalty—performed against a stark black backdrop. The choreography struck a bold balance between the masculine and feminine, celebrating their interplay and distinctiveness without competition or resentment. It was visually stunning and emotionally resonant.
The next piece continued this exploration of balance. The dancers wore black-and-white uniforms reminiscent of martial arts attire. The choreography emphasized harmony between masculine and feminine energies. Each movement felt like part of a grand balancing act—fluid, rhythmic, and powerful. The piece embodied the idea that when these dual energies are presented as equals, they generate a deeper, unified strength.
The evening closed with In/Within, a world premiere choreographed by company founder Kia S. Smith. The piece ventured deep into the subconscious of the lead character, as she journeyed through a cascade of memories, emotions, and imagined realities. She skated through vivid scenes that challenged her rational mind, confronting joy and pain, empathy and intolerance, serenity and disquiet. The choreography—modern, even futuristic—pushed boundaries and forced the audience to examine their own. It left us altered, urging us to consider what it means to live authentically and consciously.
Once again, the Auditorium Theatre, Chicago’s landmark stage at 50 E. Ida B. Wells Drive, gifted the city with an unforgettable evening of artistry.