I've got a tape I wanna play is surreal celebration of music and its slippery role in daily life. Together with dancers Chelsea Murphy, Chloe Marie, Elizabeth Weinstein, Maddie Hopfield and Dylan Smythe, Kind has woven together a series of vignettes dedicated to the unexpected bookmarks songs place in the pages of our lives. Produced by Philadelphia Dance Projects.
Photos: Jano Cohen
“As much fun as you can have in an hour of dance"
“Eclectic and hilarious”
“...postmodern feeling, informed by contemporary dance but set apart from it by a loose, improvisational style and an eclectic mix of social and jazz dance”
Philadelphia Dance Projects presents Lily Kind’s I’ve got a tape I wanna play
DOWNLOAD PDF PLAYBILL/BIBLIOGRAPHY
Press for 2021 Performance in Philadelphia: Broad St. Review | thinkingDance
Wolfthicket plays with the traditions, rituals, and fantasies of the 'girls games' we grew up with (or didn’t), and how they hop and skip across time and place.
The methods and materials of this dance come from the hand clapping games, recess activities, make-believe, and satires of intertwining US American folk traditions. The show is a modular set of improvisations that I have been developing since 2015, but a lot changed between the 2015 version and the 2021 version. In the 2021 version sampling, chorus refrains, accumulation, percussion, and call and response power the music, the dancing, the set, the world. An experiment in citing the omnipresence of Afro Diasporic influence on pop culture, the show includes a playbill turned bibliography.
The cast is approaching and leaving our thirties. The conventional dance theater world does not often positively embrace aging, both theoretically and materially. But for us, watching, healing, and helping each other as we age, lends the show maturity, humor, and perspective. What I did not predict at the start of the work, but has become braided into the show as life comes at us, is the relationship between performance and care-taking.
Wolfthicket is a mobile and modular in format, adaptable to various venues. It invites the audience to applaud, cheer, or heckle.
Wolfthicket has been performed in excerpt or in full:
August 2021 at Mertz Gall, Philadelphia, PA
Feb 2020 at the Table Gallery in Chicago, IL
June 2019 at Workinonit Deluxe, Performance Garage, Philadelphia, PA.
April 2019 at Dollop: Works in Progress, hosted by Subcircle, Philadelphia, PA.
The former version:
February 2016: Martial Posture, Philadelphia, PA (now Urban Movement Arts)
November 2015. Sarasota Contemporary Dance Company.
Past & present thicket performers: Amalia Colón-Nava , Johanna Kasimow, Maddie Hopfield, Kelsey Lanceta, Evelyn Langley, Chelsea Murphy, Lillian Ransijn, Dylan Smythe, Eva Steinmetz, Mary Carmen Webb, Elizabeth Weinstein as well as the members of the Sarasota Contemporary Dance Company.
Yeah, I made a dance to one of the most iconic pieces of classical music of all time. And it’s fucking awesome.
photos: Terrell Halsey, from the premiere of Bolero at Workinonit: Deluxe.
dancers: Amalia Colon Nava, Cait Green, Chelsea Murphy, Lillian Ransijn, Evelyn Langley, Mary Carmen Webb, Lily Kind
‘bolero’ is a 25 min performance featuring 4- 8 dancers and can be performed in traditional stage space as well as on any large, open, floor surface.
“Provocation & Delight” - Thinking Dance
“Truly a Gem” - Philadelphia Dance
Sept 2018. Philadelphia Fringe Festival
Metal is unexpectedly soft. Kind is unabashedly sharp. Together, they present a collage of new solo work designed for folks secretly underwhelmed by new solo work. Metal and Kind are both multidisciplinary powerhouses working in and around social and folk dance, devised dance theater, and experimental storytelling.
Available as excerpts or in full. Can be mounted in non-traditional theater and dance spaces.
2009 - 2015 | Baltimore, MD
“Effervescent bridges the city’s burgeoning DIY performance and music scenes with collaborations as inclusive as they are kinetic.”
— Baltimore Magazine, Best of Baltimore, 2012
As the founding director of Effervescent Collective, I supported the creation of way-more-than-we-kept-track-of-number of original full evening dance works, dance parties, pop-up performances, and more. Effervescent was a volunteer based organization full of a believe in Baltimore, each other, and the nourishing power of making dance.
My choreographic world is influenced by music videos of the 1990s. Saturated colors, playfulness, utopian-retro-futurism, sampling, satire, and vaudevillian performance tricks — all coming from hip hop, punk, and pop culture — are aesthetic and attitudes I first encountered in the golden age of music videos, long before I studied them formally in school.
