Creating more, with support from The Richard H. Driehaus Foundation

Creating more, with support from The Richard H. Driehaus Foundation

We are pleased to announce that in the 2016-2017 season, with the generous support of The Richard H. Driehaus Foundation, we’ll be welcoming more Chicago-based companies to our stage. This expansion helps us fulfill one of our core objectives: to offer Chicago’s small and mid-sized dance companies a state-of-the-art venue in which to develop and perform their work.

As of this fall, we are expanding our Subsidized Theater Rental Program. The program, which began in the 2000-01 season, provides Chicago companies and artists with one week in the Dance Center theater to rehearse, technically prepare and perform. In addition to performance space and access to technical staff and equipment, we provide promotional support, box office and front-of-house services. The Subsidized Theater Rental Program offers a significantly reduced rental rate to talented and dedicated local companies that often do not have the budget to afford to present their work in a professional venue of the Dance Center’s scale and technical and staff resources.

With the support of The Richard H. Driehaus Foundation, we are now able to expand this program from two to three companies. This season, we are excited to present three celebrated Chicago companies: Lucky Plush Productions (September 29–October 1), The Seldoms (October 13–15) and Chicago Human Rhythm Project (February 23–25).

The expanded Subsidized Theater Rental Program is just one aspect of the Dance Center’s refreshed efforts to provide a platform for local companies. In the coming season, we will pilot a Production Residency program.

Performing arts organizations around the nation are grappling with many obstacles: money, time, space, and expertise are ever-present hurdles in bringing artistic visions to life. Many beloved Chicago companies and artists face the chronic challenge of limited access to modern, well-equipped facilities that provide substantive time for production planning, lighting and sound design, technical preparation and collaborative staging prior to opening night.

The additional support from The Driehaus Foundation gives the Dance Center the opportunity to help address these challenges. During the pilot program this season, we will work with The Seldoms in the development of company member Philip Elson’s new work, The Fifth. This ambitious multimedia work investigates the origins and captors of a reimagined cyberspace, now deemed the fifth domain of war, where people become weaponized, masked and used as virtual political objects.

Philip Elson

“The commission of Philip Elson’s new work marks a first for The Seldoms, wherein we are investing significantly in an emerging choreographic voice from within the ensemble,” said Artistic Director Carrie Hanson. “We are making this commitment to express our confidence and interest in his art-making and honor his stellar contributions to my work during the past eight years. I am very excited for Philip to have the Dance Center’s extensive support for the production/design residency and the premiere presentation. This advance period in the theater with production equipment, technical staff and designers, as well as the time to experiment, problem-solve, imagine and test the integration of design elements, is too rare in our field, but advances the artwork immeasurably.”

The Seldoms production residency, which takes place August 1–5, will involve time in the theater for lighting, sound and video projection designers and other technical collaborators to access the Dance Center’s crew, space and equipment as they develop the staging for the work. The residency period also will include dancer rehearsals and a work-in-progress, constructive critique showing for a specially curated audience.

Elson in The Fifth. View his choreography reels here. Photo: Kristi Kahns

“It’s not very often that a young, emerging artist finds a place that feels like home for their artistic practice,” said Elson. “Eight years ago I serendipitously found myself studying at the Dance Center while beginning to work with The Seldoms. These two institutions have consistently supported, challenged and advanced my artistic potential as my career begins to flourish on and off the stage. I’m incredibly honored to experience a first with these two organizations, a first-time evening-length commission by The Seldoms and a first-time local artist Production Residency at the Dance Center. We are forging new territory, further demonstrating our community’s ability to strengthen artists and their creative processes at all levels in their careers. I’m grateful that this milestone and pivotal experience is happening with the people and places that I can call my artistic home and close family.”

We are celebrating here at the Dance Center, and eager to begin the season. With the ongoing support of The Driehaus Foundation, we are able to make a significant impact and contribution to Chicago’s rich cultural field.

“The Driehaus Foundation’s commitment to cultural enrichment and the vitality of Chicago’s small and mid-sized dance companies aligns with the Dance Center’s dedication to the creation and presentation of contemporary dance works, dance education and community cultural development through the arts,” said Bonnie Brooks, director and lead curator of the Dance Presenting Series. “We are delighted to partner with them in expanding our Subsidized Theater Rental Program, and we are especially excited to apply special funding to test the waters for a new production residency program for Chicago-based dance artists.”

Watch these great programs unfold all season long. Bookmark our blog and check back for updates. To learn more about the 2016-2017 Season, visit the performance page.

Three Continents, Four Chicago Debuts in 2016-2017 Presenting Series

Three Continents, Four Chicago Debuts in 2016-2017 Presenting Series

Welcome to the 2016–17 Presenting Series. Our 43rd season is an action-packed year featuring nine programs of great aesthetic diversity hailing from three continents, several Chicago premieres and three of our most treasured Chicago-based dance companies. If you love dance, then The Dance Center is where you want to be all year long.

Tadashi Endo

Tadashi Endo photo by Marciej RusinekSeptember 17, 2016 • One Night Only
Tadashi Endo performs his work Fukushima mon Amour, dancing the pain and tragedy Japan experienced in the wake of the 2011 tsunami and resultant Fukushima nuclear disaster—and the hope of reconstruction that carried the nation forward. Director of the Butoh-Center MAMU and the Butoh-Festivals MAMU in Göttingen, Germany, Endo embodies the wisdom of the Western and Oriental dance and theater traditions. His repertory includes Noh theatre, Kabuki and butoh, as well as the traditional forms of Occidental theater. In this synthesis of worldwide traditions, Endo transcends the boundaries of each, expressing the fields of tension between Ying and Yang, the male and female and their everlasting alteration.

Lucky Plush Productions

2016_223_LuckyPlush-3790September 29–October 1, 2016
Tripping the Light Fantastic: The Making of SuperStrip, the newest evening-length work from Lucky Plush, draws from classic pulp novels and comic books in a blend of dance, theatre and visual design that moves between live performance and projected video in unexpected ways. SuperStrip follows a group of washed-up superheroes attempting to reinvent themselves by starting a nonprofit think tank for do-gooders. Complex training missions and specialized movement techniques bring structure to their collective, but the unlikely supers are unable to find a shared mission and brand. In the struggle to achieve consensus, they discover that real-world problems are far more complex than singular forces of evil and having power is part of the problem.

The Seldoms

TF_10_Kristie_KahnsOctober 13–15, 2016
FamilyDance Workshop and Matinee: Oct. 15
Warfare has entered new territory—cyberspace. The Fifth, a new commission for The Seldoms by longtime ensemble member and notable performer Philip Elson, investigates virtual and surreal worlds, bringing to life the origins, captors and masters of the secret sphere. Perpetrators face internal struggles in the fight for what they believe is a greater good. But the strong voices of survivors can’t be ignored. The tension between disruption and unity tells this tale.

nora chipaumire and Kaolack

portrait_Duo Solo_Elise FitteDuval6

October 20–22, 2016
In the evening-length portrait of myself as my father, chipaumire continues her artistic investigations focused on the black body, on Africa and on the self. Performed by chipaumire, Senegalese dancer Kaolack (who danced with Compagnie Jant-Bi for many years) and Shamar Watt, portrait considers the African male through the lens of cultural traditions, colonialism, Christianity, liberation struggles—and how these ideas might impact the African family and society on a global scale. portrait is timely in its examination of black maleness as it asks, “What is it about the male body, which happens to be black, that we are afraid of?” The work takes place within a boxing ring and invites the audience to sit close as well as at a distance in witnessing the performance.

Tere O’Connor Dance


TereOconnor_600x400November 3–5, 2016
In the Chicago debut of his company, O’Connor brings a duet, Undersweet, and an as-yet untitled trio in a chamber evening. In Undersweet, created on and with Michael Ingle and Silas Riener (former member, Merce Cunningham Dance Company), O’Connor proposes that formalism might be generated by repressed sexual desire, a paradox that finds expression through this choreographic meditation. The second work, as yet untitled, bears the imprint of upheaval in our world and the sense of the loss of human traits such as compassion and reason. James Baker, a longtime collaborator, will create the musical score for the new trio.

Ballet de Lorraine

FABRICATIONS1-™BernardPrudhommeFebruary 18–19, 2017
in collaboration with the Museum of Contemporary Art Chicago
Making their first-ever tour to the United States, the Centre Choréographique National – Ballet de Lorraine, a contemporary ensemble of 26 ballet-trained dancers, is one of the most important companies working in Europe. They open our spring season with three works on the MCA Stage. Sounddance, one of Merce Cunningham’s most beloved pieces, is a work in opposition to ballet’s uniformity and unison, a fast and vigorous dance winding up into an orgy of movement that then unwinds as the dancing continues…elsewhere. Musician and composer David Tudor’s driving score provides the energetic accompaniment to Cunningham’s fast-paced choreography. Fabrications, another Cunningham work, features a shifting ensemble of 15 dancers. Choreographed using Cunningham’s signature chance procedures, the work offers a dramatic and elegiac tone, accompanied by music from Brazilian composer Emanual Dimas de Melo Pimenta. The third work of the program is Untitled Partner #3, choreographed by Petter Jacobsson and Thomas Caley. This interdisciplinary work combines dance and film in a performance-installation, searching for but never finding equilibrium between id and ego.

Ballet de Lorraine will perform at the Edlis Neeson Theater at the MCA Stage, 220 E. Chicago Ave., Chicago.

Chicago Human Rhythm Project—BAM!

Chicago Human Rhythm Project dance group performing at Spring to Dance Festival at Touhill in St. Louis, MO on May 23, 2013.

February 23–25, 2017
FamilyDance Workshop and Matinee: Feb. 25
After an absence from The Dance Center stage of almost 15 years, Chicago Human Rhythm Project (CHRP), Chicago’s beloved and inventive percussive dance company, presents an evening of mixed repertory featuring classics from past masters and world premieres choreographed by members of BAM!, Chicago Human Rhythm Project’s resident performance ensemble. Technical virtuosity and passion are the hallmarks of the company, which never fails to engage and surprise the most seasoned audiences. CHRP formed BAM! in 2004 as a choreographic project with funding from the Chicago Dancemakers Forum and an Illinois Arts Council Choreography Fellowship and has since performed at the 5th Anniversary Beijing International Dance Festival, the Pritzker Pavilion in Millennium Park (with the Chicago Jazz Philharmonic), Dance For Life and San Antonio’s Third Coast Rhythm Project, among other performances. BAM! appeared as part of Dance Chicago, in Jubilate at the Harris Theater and at the Spertus Institute and other Chicago venues.

Malpaso Dance Company of Havana

Malpaso9_Despedida_by_CherylynnTsushima_300dpiMarch 9–11, 2017
Malpaso is a passionate contemporary dance ensemble that embodies the rich culture of Havana. Under the leadership of choreographer and Artistic Director Osnel Delgado, the company works to bring Cuban contemporary dance into the 21st century by collaborating with top international choreographers and nurturing new voices in Cuban choreography. Following its critically acclaimed international debut at The Joyce Theater in 2014, Malpaso continues to take the dance world by storm with evocative music and dazzling dance. The Dance Center program, the company’s Chicago debut, includes a new work by one of the world’s most in-demand choreographers, Aszure Burton.

Liz Gerring Dance Company

20150729_horizon_res_2497April 6–8, 2017
In her company’s first Chicago appearance, Liz Gerring presents Horizon, which features seven dancers performing multiple phrases simultaneously in an evening-length work described as “exuberantly athletic” in The New York Times. Working with composer Michael J. Schumacher, production designer Robert Wierzel and costume designer Liz Prince, Gerring’s newest work, performed under a white ceiling cantilevered over the stage, is fresh testimony to her pure, movement-driven action and exhilarating physical surprises in a constantly changing media-saturated stage-world. Gerring is considered a 21st century formalist, about whom New York Times dance critic Alastair Macaulay has written, “This is not choreography that turns into poetic images, metaphors, stories, anything other than itself. Yet at times it’s wild, cold, amusing, surprising, impetuous.”


Current subscribers can enjoy the opportunity to design the perfect season before tickets go on sale to the general public. Check your email for your exclusive subscriber link. You can also renew by calling the Box Office at 312-369-8330.

New subscriptions will go on sale June 20th. Single tickets go on sale July 16th. Join our email list to stay in the know about all the happenings at The Dance Center. See you in the theater!

Banner: Malpaso dancers in Despedida. Photo: David Garten. Below, in order: Tadashi Endo in Fukushima mon Amour. Photo: Marciej Rusinek. Lucky Plush dancers Daniel Gibson, Sojourner Zenobia, Marc Macaranas, Michel Rodriguez Cintra, Benjamin Wardell, and Melinda Myers in Trip the Light Fantastic. Photo: William Frederking. Choreographer Philip Elson in The Fifth. Photo: Kristie Kahns. nora chipaumire in portrait of myself as my father. Photo: Elise Fitte Duval.  Tere O’Connor Dancers Silas Riener, Jimena Paz, and Eleanor Hulihan. Photo: Julieta Cervantes. CCN – Ballet de Lorraine in Fabrications>. Photo: Bernard Prudhomme. Chicago Human Rhythm Project dancers Tristan Bruns, Kristi Burris, Starinah Dixon, Zada Cheeks, and Heather Brown. Photo: ProPhotoSTL. Malpaso dancers in Despedida. Photo: Cherylynn Tsushima. Liz Gerring dancers Jake Szczypek, Molly Griffin, Pierre Guilbault, Claire Westby, Brandon Collwes and Joseph Giordano in Horizon. Photo: Miguel Anaya.


Coming Soon…16-17 Season Announcement!

Greetings fellow dance lovers…

We are putting the finishing touches on our press release announcing the 2016-2017 dance presenting season at The Dance Center of Columbia College Chicago.  As soon as it is circulated to our press colleagues we will post a message to you here.  This will give readers a first look at what will be happening next year — and we’re very excited about it!  We’ll be introducing several companies to Chicago that have never before performed here, collaborating on one project with one of our esteemed presenter colleagues in town, bringing a definitely international layer to the upcoming season, increasing the presence of Chicago-based dance on our stage, and inviting our audiences on a fabulous new 10-event adventure.  Subscriptions will be encouraged!  And the discount for subscribers will be better than ever in 16-17.

Subscribe to the blog and be one of the first to hear what our season holds.  Stay tuned….


We welcome Michael Sakamoto and Rennie Harris to our stage March 31, April 1 & 2, performing their butoh-hip hop duet entitled Flash.  Below please enjoy Peter Carpenter’s program notes, introducing this work to our audiences.  We hope to see you at The Dance Center for this remarkable performance!



Flash, by Rennie Harris and Michael Sakamoto, looks at the body as a site of crisis and contradiction. Conceived as a public conversation between the artists and their respective forms—hip hop and butoh—this transcultural experiment looks for connections between African-American and Japanese-American identities and finds common ground in their artistic responses to traumatic experiences.

In the autobiographical solos within Flash, individual childhood traumas—ranging from the continuous menace of helicopters in the militarized police state of Los Angeles to experiences with violence and molestation—are represented through the sound design, voice over text, and within the sometimes grotesque contortions of the body. In this context, the introduction of American popular songs highlights the social displacement of their cultural experience in contrast to the mainstream.

While the commingling of butoh and hip hop may seem unusual to some, both are contemporary forms associated with resistance to conservative social norms. Hip hop developed in the 1970s in New York City in African American, Latino, and Afro-Caribbean neighborhoods; butoh began to gain visibility in Japan a decade earlier. Beyond the geographic and aesthetic differences, both forms are rebellious, socially challenging, and require holistic immersion (one does not “do” butoh, rather one becomes a butoh dancer, and similar values of immersion circulate in hip hop). Both have connotations to danger. Both have become global phenomena.

As evidence of the potential synchronicity between butoh and hip hop, March 2016 marked the 10-year anniversary of a pivotal Chicago festival, The Body Breaks: Butoh, Breakdancing, and Beyond, curated by Nicole LeGette for Links Hall. The Body Breaks brought together contemporary artists working in the two forms for a month of performances, workshops and public discussions. From this vantage point, Sakamoto and Harris continue not only in the ongoing development of their respective forms, but also in a distinctive coalition between butoh and hip hop that may be familiar to some Chicago audiences.

Flash provides us with a unique opportunity to witness the conversation between these cultures and these artists as they engage the body in crisis. We invite you to witness the remarkable representation of human experience that arises at the convergence of these potent dance forms.

Peter Carpenter, Ph.D.

Acting Chair of Dance

Thank you, Joe Goode

We loved having Joe Goode Performance Group at The Dance Center for a full and generous two-week residency!  And we hated to see them all head back to San Francisco last Sunday for we feel as if in many ways we are a second home to this wonderful ensemble.  From their first arrival to work on The Resilience Project to the final moment on closing night of Hush, the residency touched many lives and reminded us once again of what wonderful dance theater JGPG brings when they come our way.

Hush was the latest example of the elegant, inventive and tender work that Joe creates with his ensemble.  It’s no small task to take on subjects such as how we “hush” ourselves over desperately difficult experiences and yet sustain artistry, beauty and a certain postmodern irony in contemporary dance theater. With Joe Goode’s work, we keep coming back to the same word over and over:  human.  In this case using the skills and contributions of the performers as well as the wonderful work of Joe’s artistic collaborators, composer Ben Juodvalkis and foley artist Sudhu Tewari, Hush indeed “roared.”  And of course here within The Dance Center faculty and students, we were overjoyed to see long-time faculty member Liz Burritt back in action with JGPG, after a long hiatus of working here in Chicago and teaching in our program.

Thank you Joe & everyone! You all rocked. Come back to Chicago soon.

Next up:  Michael Sakamoto and Rennie Harris, in Flash.



Program Notes: HUSH


One of my goals in making this work was to expand the community of the art-making process to include some civilians. I wanted to develop the characters in Hush based on conversations, not just with my immediate collaborative circle, but with ordinary folks who might have experienced the phenomenon of being “hushed” or of “hushing” themselves.

To this end, a few members of the company and I set up some casual conversations with a few particular communities: LGBTQIA teens and young adults who have experienced exclusion or bullying because of their sexual identity; women who have been sexually assaulted and felt the lingering effects and the terrible stigma of that experience; elderly citizens who are living in an urban setting and contending with the “youth” culture of the city; and people with Parkinson’s disease, some elderly and some not, who have felt themselves marginalized with the onset of their disease. We asked them how and if they had felt hushed, or if they had hushed themselves. The stories flowed from there. We just listened and recorded them with our smartphones.

The challenge for me as a writer was to take a few of these delicious tidbits and weave them into the script. Much of what you will hear comes from my imagination, but there are some fairly direct quotes from the interviews, as well. None of the characters are even remotely close to the people we interviewed, but I have given them strands of what these “real” people said to lend a kind of heft and reality to the language.

I have envisioned Hush as a narrative work. I wanted to spread my wings as a writer a bit more, to see if I could write characters who were consistent throughout the piece, but I couldn’t have done it without the participation of these wonderful volunteers who inspired me with their stories.

— Joe Goode




An Interview with Joe Goode


Joe Goode Performance Group company members in rehearsal at The Dance Center (l-r) Melecio Estrella, Felipe Baruetto-Cabello, Alexander Zendzian, Liz Burritt

Joe Goode in Dance Workshop at the Marriott Center for Dance on the University of Utah Campus Salt Lake City, Utah, Feb. 22, 2012. (Photo by August Miller).

Interview by Lizzi Wood, class of 2016

Joe Goode Performance Group (JGPG) incorporated in 1986, aims to promote understanding, compassion and tolerance among people through the combination of dance and theater. JGPG is based in the San Francisco Bay Area and has also appeared in Canada, Europe, South America, the Middle East, and Africa. Joe Goode is a highly recognized innovator in the world of contemporary dance, receiving numerous national and international awards. The company’s most recent work, Hush, makes its Dance Center premiere on March 10.

Last week, I sat down with Joe to talk a bit about Hush, his choreographic process, and creating felt material.

Lizzi Wood:  Hush was born out of six personal narratives that you gathered from members of your audience and community. What made you want to approach this work in such a personal way? Was there one story in particular that you feel is really a driving force behind Hush?

Joe Goode: I’m a writer, and I’ve always enjoyed that, it has always been part of what I do in my work. I was just feeling like, instead of creating characters and creating stories, what would it be like to tell real stories? Real stories of real people’s challenges. So we asked some of our friends and community members to tell us stories about moments of difficulty in their lives, when they felt it was difficult for them to move forward. I wasn’t sure if they would even want to talk about it, but when you ask people that question, they have a lot to say. We made a piece from all that material called When We Fall Apart. But they tended to be stories of people aging, and losing their sense of identity, their sense of vitality, their sense of relevance in society. Maybe that’s a comment on me, and the people that I know, that we’re getting to be that age. So I thought it would be fun to make a piece that was about young people. We actually went down to Stanford and we interviewed a bunch of people. A big issue was sexual assault for women. The whole idea of sexual consent. You would think an esteemed university like Cal or Stanford would have evolved beyond those kinds of issues. But women feel unsafe on those campuses, kind of universally. One of the stories is about that.

Because of the community we were talking too, there were also a lot of stories about gender identity and sexual identity. People who didn’t feel like they could be really defined in a sexual identity, and also people who were really questioning their gender. I realized these stories are more universal than I thought. But the other thing we discovered about that age group was that people value their friendships. There’s a real bond and a sense of community really starts in these intimate friendships. All those issues are kind of in the piece. There is a sense of malaise in the youth culture – a sense of, “I really don’t know what I’m doing with my life. I feel like everyone’s telling me I’m supposed to have a sense of direction, but I really don’t, and so I feel like a phony.” And there’s this sense of almost being lost in that indecision, in that lack of focus. I think these are things that have been true for many, many, many generations, but maybe this generation is just more aware of what they have and what they don’t have.

LW: If you had to list some communities that you would hope your work speaks to, what would they be?

JG: Well, that’s an interesting question, because I really like starting conversations across communities. I’ve never wanted to just perform for the LGBTQ community. Although, technically that’s the community that I belong to. I feel like there’s plenty of work and plenty of places where that community can talk to itself. But I’m really more interested in talking to the mothers and fathers of those people, or like, the cranky uncles of those people. The people who think they don’t like those people. It’s just more compelling for me to think that I’m finding a kind of human commonality across communities- so my issues are the same as your issues. We’re both going to get sick and die, we’re both going to lose our parents. We’re both going to move several times, we’re going to become aware of other cultures in some way. These are things we all go through. So I don’t think of myself as reaching out to a specific community. People often comment on my audiences, saying “oh you know, this isn’t a dance audience, these are old people, and people of color, and queer people, and pretty conservative looking people” It’s a mixed group, and I’m happy about that, that’s what I prefer.

LW: You collaborated with some pretty amazing sound artists on this project – and are using Foley art to accompany the movement on stage. How was this process? Were there any specific challenges that you faced along the way?

JG: A Foley artist is really a studio artist. A Foley artist sits and watches a door close on a piece of tape, and watches it a million times until he finally finds the perfect sound that really sounds like that door closing. So I asked a Foley artist, Sudhu Tewari, who is also a musician and a composer. In his Foley work, he’s working on movies. He gets to do it over and over again with movies, so it was challenging with us because he has to do it live We’re making actions and he’s making sound for that. I wanted it to be hyper real because the piece is called Hush, it’s about stories that people don’t want to tell, it’s about keeping things hidden, it’s about keeping things to yourself, maybe only sharing with that one special friend. It was hard to not make it just a joke. I didn’t want it to be just a joke – I mean, it’s funny – but I didn’t want it to be merely that. I wanted it to amplify the quiet in that person’s mind. Or, the privacy of the secret. It was tricky getting the balance right of how loud these sound effects should be. They can start to sound like some amplified contemporary music, they don’t sound like the actual thing that’s happening. I think we hit the balance finally, but it took a lot of trial and error.

LW: I know you’re doing a workshop with Columbia students this week called ‘Creating Felt Material’. Can you explain a bit about this concept?

JG: Felt material is material that you can own, that you can live in, that is yours. It doesn’t necessarily have to be autobiographical, because that gets old pretty fast. I don’t think my story is that interesting, ultimately, and I’ve told it many times. But, the way I feel the world is unique to me. The way I see the black floor is different than how you see it. So if I’m going to make something about the black floor, I really have to own my own perspective on it. I have to discover what that is, first of all, and then I have to put it in my material. I have to own my own perspective and really color things with how I see and how I feel the world. Some people love parties, I break out in hives. So if I’m going to make a scene about a party, I’m not going to choose somebody else’s perspective. I ask people to choose the felt perspective on their own material so they can really own it. And so it’s unique to them. That way later on when you’re building it a work, you’ve contributed material that’s personal to you. And you’re always going to feel, no matter what direction that work goes, you’re always going to feel ‘that material is mine, and I have ownership of this work.’

LW: How does your approach towards dance, one that involves the incorporation of text, and singing, and movement, shape or frame your rehearsal process?

The rehearsal process is kind of like a big workshop. We’re always working on multiple things at the same time. So somebody will be in the corner working on a little piece of text, maybe responding to a sentence in their own way, or relating an experience of their own. Somebody else is working on a four-note lullaby, two other people are working on some partnering. And somebody is responding to some instruction that I’ve given them about circular movement. The collision is really where the work comes alive. Sometimes the combination of x and y is much more interesting than x or y. We throw away a lot of material, we make a lot of material. It’s not linear, It’s constant little pools of material that we’re generating. Then there’s a long process of editing. Then the hardest part of the process is the arcing of the material. So you might have lots of cool stuff, but does it belong in the same work? We might find a character has kind of emerged here, do we want to keep that character all the way through? Do we want to imagine all of this material happens to that character? Is there a way to do that, can we align or manipulate this material in a way that serves that goal? It’s really hard, and sometimes the piece gets ruined in the process, sometimes you edit the wrong things out or leave the wrong things in. It’s tricky.

Joe Goode Performance Group performs on the Dance Center stage, located at 1306 S. Michigan Ave., March 10-12 at 7:30 pm. A post-performance conversation will take place Thursday, March 10, and a pre-performance talk with Joe Goode will take place Friday, March 11 at 6:30 pm. For additional ticketing information, visit or call the box office at 312-369-8330.