2020 Solo Artist: Jade Solomon Curtis
Jade Solomon Curtis is a choreographer and dance artist who integrates African-American vernacular movements with mixed-media, contemporary dance and Hip Hop cultural influences. She is the founder of Solo Magic, a non-profit arts initiative collaborating with innovative artists to create socially relevant multisensory performances; “Activism is the Muse”.
Curtis recieved her BFA from Southern Methodist Univeristy and is a recipient of the 2018 NEFA National Dance Project Award and Production Residency Grant for her work Black Like Me: An Exploration of the Word Nigger, a 2018 Artist Trust Fellow and a 2017 University of South Carolina Inaugural Visiting Fellow. Curtis received the 2017 Seattle Office of Arts & Culture CityArts Project Award and the 2017 4Culture Artist Project Award. Her work has received support from the Bossak-Heilbron Charitable Foundation, Artist Trust, Central District Forum for Art & Ideas, and 4Culture (Tech Specific Grant). Curtis is a 2017 Velocity Dance Center artist-in-residence, a 2018 Base Experimental + Art artist-in-residence and a 2019 SLIPPAGE Lab at Duke University artist-in-residence.
A celebrated soloist of Donald Byrd’s Spectrum Dance Theater for four seasons, Curtis is the subject of an Emmy Award-winning short film, Jade Solomon Curtis directed by Ralph Bevins. In 2016, Curtis was selected to tour Cuba as part of Common Ground Music Project; and her solo, “Emancipation” was produced as part of the landmark exhibition, Kehinde Wiley: A New Republic. Her solo work has also been commissioned by the Seattle Art Museum and the Northwest African American Museum as a part of Complex Exchange: Jacob Lawrence's Great Migration.
Her current work, Black Like Me is touring inter/nationally and has been presented in Los Angeles, CA, Albany, NY, Vancouver, BC, Seoul, South Korea amongst others. Follow her on IG @jade_solomon.
Keeper of Sadness (a work in progress)
Choreography: Jade Solomon Curtis
Music: Barbara Hendricks
Lighting Design: Sara Torres
In 2015, during the developmental stages for Black Like Me: An Exploration of the Word Nigger (BLM), a multidisciplinary work that explores the reverb of a single word in a global community, I experienced a deep sadness that left me paralyzed with exhaustion, frustration, and anger. Out of it came an urgency to capture the significance of the black woman’s social, political and economic plight and the role innovative technology could play in exposing those realities.
KOS aims to give voice to the pain that lays dormant in the bellies of so many Black Women ignored throughout history--often self-suffocated as a means of survival--and further divulge the pain Black women have genetically recycled without the ability to purge.