Dance is an art form that is bright, loud, rhythmic and bold. At its best dance can be transformative. We caught up with choreographer and founder of Red Clay Dance Company Vershawn Ward to discuss this power of dance and find out about who she is and her most recent production Written on Flesh that will be presented at The DuSable Museum of African American History in Chicago.
Tell us who you are.
I am Vershawn Ward, choreographer, performer, dance scholar and the founder and executive artistic director of Red Clay Dance Company based in Chicago. Red Clay Dance Company is in residency at Fuller Park through the Chicago Park District’s Arts Partners in Residency Program, which unites artists and communities in Chicago’s parks.
What is it about dance that transcends every art?
Dance is an in the moment, visceral experience with that involves the human body, sound, and breath. It is as natural as walking and at the root of it, it is movement. Dance allows the body creating the work to also be the presentation of the work that is created. The idea of the artist is not told through the paint brush, or canvas, or external instrumental. It is told through the human body. To me that is why dance is so transformative.
What inspired you to to do this?
I am not only inspired to dance but I am driven to it. Dance has been a part of my life from a very early age and is truly my purpose. I dance because I have to. It is the most enjoyable form of communication for me. Even as I answer your questions I wish I could express it through movement. My work is inspired by what I see happening around me everyday, by the people and situations I experience or read about. I am also inspired by history and how my work can help shape peoples present, and for some their futures. I am inspired by the young artists we train and the new energy and voice they will bring to the field.
Your latest production is called Written On the Flesh. What is behind the meaning of this title?
Written on the flesh is explores the concept that we all, regardless of ethnicity or color, carry our identity, both assumed and projected, on our flesh. It’s the perceptions that are made up each of us based on our outward appearance, specifically as it relates to skin color. The work also focuses on areas in our society, where systematic racism exists and acknowledges the limits it places on some and the privilege it provides for others based on the color of a persons skin. Taking a snapshot of moments from the past to help us understand where we find ourselves in the present, but always looking towards what needs to change in the future.
How does the racial climate in the world today affect your work?
I feel as though the racial climate hasn’t really changed. I use the term, “elegant racism,” a term I read about in an article written by Ta-Nehisi Coates. Elegant racism is that systematic racism, not the ugly bigotry that maybe we have seen more of during the Civil Rights Movement, but still exists today. But looking at the subtle forms of racism that exist in our education, prison, political and housing systems. These are all areas that in the past and present are shaped by the social construct of “race”, its just more elegant now in many areas, not so “in your face” and not a one-on-one issue. These systems are totally shaped by the ideologies of White privilege and white supremacy. So I feel the climate is just as loaded and heated as it as always been, the race issue has never been dealt with, so the climate shapes my choreographic work a great deal.
What has been the most challenging part of doing what you do?
One of the most challenging part of creating my work is being brave enough to explore topics that may not be popular and often times are very ugly and do not always result in making the “pretty art” that we all enjoy consuming, often times doesn’t challenge our morality or inspire to act. The work is art and activism. Another challenge is getting the work presented by theaters and organizations that present dance. Red Clay self-produces a lot and this is very expensive. So we are always seeking places that see the value in our work and want to present it to their audiences. And of course having enough resources, money is always is always a challenge. so that i can properly pay my dancers, staff, collaborators, teaching artists, etc.
What is next for you?
Well, after this concert we will produce our annual Dance4Peace Youth Concert | Community Hug Awards on May 14th at the Harold Washington Cultural Center. Tickets go on sale for that on April 15th. This concert highlights all of our youth programs and also presents a Community Hug Awards to three leaders in our community that use art and activism to develop our youth. I will also be spending the month of June in Providence, RI in a creative residency to finish my solo, “#SAYHERNAME”, that will be performed in Chicago and Philly in the Fall and lastly planning another trip to Africa in December or January. This is a trip for study and personal development to Ghana, South Africa and Ethiopia.
Do you have any encouraging words for our readers?
Just the words of Dr. King, “injustice anywhere is a threat to justice everywhere.” We are all in this together and the time to strategically plan and act is now! Hopefully, this work will challenge whoever comes to see it to do just that, act, getting involved as they say at the DuSable Museum DU SOMETHING!
April 8th & 9th
7:30pm
DuSable Museum of African American History.
Friday night there is a post-show discussion immediately following the performance and Saturday night is our post-show Paint the Town Red Gala.
Cost: $15-$65
Group discounts available
