MEMOIRS OF JAZZ IN THE ALLEY
The Rehearsal Process
Photography by Andrew Weeks
Imagining: A Gibney Journal

The performance of Memoirs was supplemented with a community engagement plan that serviced both the city’s south side and the greater Chicagoland area, in an effort to increase the life of the work beyond the proscenium stage.
Engagement around Memoirs of Jazz in the Alley included:
-
- – The development of curricular materials around the history of jazz music and dance in Chicago for K-12 classroom instructors.
- – Main Company performances for 1,000 students at 12 local elementary and high schools in gymnasiums, cafeterias, and multipurpose rooms. These performances provided students with an experiential learning opportunity about this important history on Chicago’s south side and planted an initial seed for students to understand the pipeline from arts education to careers in the arts.
- – A community circle for students at the Walter H Dyett Public High School for the Performing Arts.
Reviews
“Last year’s premiere of Memoirs of Jazz in the Alley proved a perfect showcase for choreographer and director Kia Smith. The evening-length “dance opera” exemplified her choreographic voice—note-by-note precision, fluid torso movement, unexpected gesture, powerful unison—and marked the debut of her 7-year-old company, South Chicago Dance Theatre, at the Auditorium Theatre, its largest venue to date.”
“The very busy South Chicago Dance Theatre and/or its founder, Executive Artistic Director Kia S. Smith, have collaborated over the past year with the Chicago Opera Theater, Music of the Baroque and Giordano Dance Chicago; appeared in pretty much every local multi-company showcase of dance; and ran the theater’s own dance festival this past November. The company, only six years old, sold out its fifth anniversary show at the not-small Harris Theater in May 2022. Somehow, Smith also found the time to choreograph an evening-length work that’s about to have its world premiere at an even bigger venue: “Memoirs of Jazz in the Alley,” about the legacy of Smith’s father, saxophonist Jimmy Ellis. The accompanying score of jazz standards will be played live.”
“The sheer physicality of the two-act performance was astonishing. In a few seconds, the versatile SCDT dancers could transform from human marionettes sprawled flat onstage to swiftly soaring, airborne athletes. At one point, Taylor Yocum balanced on her right foot, lifted her left knee close to her chin, and clasped both hands beneath her left foot before continuing her fluid strides forward. It was a blink-and-you-miss-it move that reflected the levels of strength, stamina and limberness required to be in a company like SCDT.”
“Smith’s first evening-length piece, “Memoirs…” is a tour de force and a sensory immersion into this artist’s creative well-springs. ”
“The ensemble is made of dancers dedicated to their craft who are also actors, giving the roles gravitas. This journey through the South Side of the 1960s and ’70s requires gravitas and a dedication to authenticity and to jazz music.”
“Alternately exuberant, eccentric and deeply troubling, this “Memoir” suggested the emotional heat and beat so elemental to “that thing called jazz.”
“…the everywhere choreographer Kia Smith of South Chicago Dance Theatre.”
“Director Kia Smith’s star has risen at a phenomenal pace…”
The Performance
IN/WITHIN
The Rehearsal Process
Photography by Michelle Reid
Why IN/WITHIN?

In October 2024, SCDT completed a 10-day tour to Asia. We performed at the Seoul International Dance Festival in Tank and took part in a residency in Ho Chi Minh City Vietnam with Lyricist Dance Company under the Choreographic Diplomacy™ program. I traveled directly from Ho Chi Minh City to Harrisonburg, Virginia to create a world premiere for James Madison University. Without a full day between arriving in Virginia and commencing the rehearsal process, the jetlag was astounding. I never got a full night’s sleep and yet created the most profound piece of choreography that I had ever made on a group of students. The piece is entitled “Wheeling in Time” and follows a lead female character as she traverses through nonsensical scenes through 12 minutes of contemporary choreography.
I’m not sure if it was the lack of sleep or the inspiration of having returned from an international tour, but I experimented unintentionally with surrealism in a way that informed everything that I did for the rest of the season. I changed the title and concept of my long work for SCDT’s 8th home season from Limitless! A Celebration of Black Composers to IN/WITHIN and made space for the child like freedom to play. I prioritized following my gut instincts and considered my own needs in artistic process in a way that I had not yet done before with SCDT. From this experience came what I believe to be a landmark piece and a platform for new work that will encourage SCDT’s holistic growth and trajectory forward in the future.
Reviews
“Kia S. Smith’s IN/WITHIN offers a surreal journey into the subconscious, navigating the complex terrain of memory, emotion, and identity through the lead performer, Chloe Chandler. The piece immerses the audience in a world where irrationally juxtaposed scenes evoke a wide spectrum of emotions—from joy and absurdity to melancholy and empathy. Smith says that the work “represents me and my voice more than any other work I’ve choreographed. I envision this is the start of a new era for South Chicago Dance Theatre, with an emphasis on ‘theatre’ and a more narrative-driven model.” Chandler anchors this chaotic landscape, dressed in striking red heels, hot shorts and cool sunglasses. As she ventures through her subconscious, Chandler encounters eclectic characters, such as Elijah Richardson’s bumblebee-like creature and Brodie Wolf’s aristocratic, barking figure—both contributing whimsy and absurdity to the narrative. These characters symbolize the emotional turbulence of the subconscious, highlighting IN/WITHIN’s exploration of authenticity versus artifice.”
“The dancers of SCDT brought IN/WITHIN to life with remarkable skill, capturing the delicate balance of vulnerability and strength in Smith’s choreography. “
“The work showcased Smith’s choreographic innovation and SCDT’s ability to communicate profound emotional and psychological truths through dance, making it a standout piece in the evening’s program.”
“…this was a mind-blower ”
“This was a carefully choreographed dance with order and disorder in the same space.”
“I highly recommend looking for South Chicago Dance Theatre performances and keeping track of Kia S. Smith’s vision as it unfolds.”
“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”
SCDT named one of Chicago’s top 5 dance performances in the month of May by New City Magazine