In this episode, NCCAkron's Executive/Artistic Director Christy Bolingbroke enters the 'studio' with Los Angeles, California-based Kara Jenelle, aka KJ. A choreographer, spoken word artist, and international arts educator with a global reach of over 19 million views via her YouTube channel, KJ's repertoire highlights street dance, African diaspora dance and music, and Black culture.
Jennifer Edwards: Thanks for joining us Inside the Dancer’s Studio, where we bring listeners like you closer to the creative process. Inside The Dancer’s Studio is a program of the National Center for Choreography in Akron, Ohio. This podcast was recorded as an ongoing documentation practice with NCCAkron visiting artists in 2024 and 2025.
In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke, enters the 'studio' with Los Angeles, California-based Kara Jenelle, aka KJ, Wade. A choreographer, spoken word artist, and international arts educator with a global reach of over 19 million views via her YouTube Channel, KJ's repertoire highlights street dance, African diaspora dance and music, and Black culture.
Christy Bolingbroke: Hello, I'm Christy Bolingbroke, the founding Executive/ Artistic Director for the National Center for Choreography in Akron, Ohio. And today we're continuing to speak with our 21st Century Dance Practice artists, and I'm very excited to welcome Kara Jenelle, “KJ” Wade. Hey girl.
Kara Jenelle: Hi. Hi, Christy. How are you?
Christy Bolingbroke: I'm, I'm really good. I'm always the happiest when I get to talk with artists and even better when you are in the same space…
Kara Jenelle: Right.
Christy Bolingbroke: …as us. And I got to see you teach our students here at the University of Akron a little bit yesterday, and it was all I could do not to jump in.
Kara Jenelle: (Laughs) Definitely.
Christy Bolingbroke: I was feeling the beat.
Kara Jenelle: And I'm always welcoming, so…
Christy Bolingbroke: Okay. Well, all right. Whenever you see that happening…
Kara Jenelle: The week is not over yet.
Christy Bolingbroke: Right. Okay. All right. But we're here to talk about (Jenelle: Yes) process and creative practice. And so first question, how or when did you know you wanted to be a choreographer? Was there a specific, a, a moment you felt the calling? (Jenelle: Mm-hmm) You decided to claim the term?
Kara Jenelle: Mm-hmm. Choreography has always come out as a necessity in order to produce the work and/or expose the people to the culture or practices that I wanna share or see out in the world (Bolingbroke: Mm-hmm). I will say that it started probably in undergrad. During my undergraduate time at the University of North Carolina at Greensboro, I started a dance crew called Paradigm (Bolingbroke: Mm-hmm). And that was a hip hop dance collective because we didn't see hip hop as much in our program. And then I also started a dance fraternity and that also prompted choreographic skills and things for our like benefits showcase and just being able to produce work that students wanted to perform. And then more importantly, on the professional side of things, it started right around. I would say once I got to LA, because I was going to auditions all the time, but there weren't many auditions for like Afro Street dance or Dance Hall as much in the areas that I really wanted to work in, the artist I wanted to work with. (Bolingbroke: Mm). And it wasn't to say that I wanted to box myself into any particular category, 'cause whether it was jazz or hip hop or heels or modern, contemporary, you know, my range was there to do it all. But I wanted to do something to set myself apart and also to fill the void of a whole genre of street dance that was missing in the scene that people just didn't know about as much. So my choreography and concept videos tended to build the exposure to that and create more opportunities. And so that's where the choreographer in me really was birthed. But the seeds of it was sewn in undergrad.
Christy Bolingbroke: Oh my God. Uh, of course (Jenelle laughs). And, and because you aren’t just one thing.
Kara Jenelle: Absolutely.
Christy Bolingbroke: Right. You're so many things, and I might even offer that, like it's a choreographic process of sort of assessing (Jenelle: Mm-hmm). Reading the landscape, reading the room, reading which dancers you have to work with (Jenelle: Mm-hmm). And then making decisions and filling in the gaps (Jenelle: Yes). Like hearing what you said about building, you know, a dance crew (Jenelle: Yes)…in college or reading the professional landscape (Jenelle: Yes). And then this internal dialogue about like, wait, I can do this. This is how I can stand out differently (Jenelle: Mm-hmm). Instead of sort of waiting for those invitations to manifest themselves 'cause let's be real, you might still be waiting.
Kara Jenelle: You might wait until an abyss.
Christy Bolingbroke: Yeah, it’s just never…(both laugh)
Kara Jenelle: No, because also I think you have to create the opportunities you want to pursue (Bolingbroke: Mmm) and see, you know (Bolingbroke: Yes), like you always can wait for something to come to you, but honestly, the bulk of my career has been from moments that I created or built or was putting the work out there, and then it was like, oh, this is actually in perfect alignment with X, Y, and Z. Or this the concept of visual that this artist wants to do, or, oh, we know KJ may be able to offer this in a residency or produce this, or isn't this in line with what you're doing? So in doing the work, before the request comes, I think you also plant the seed and create the infrastructure and the environment for people to see the seeds that are growing and sprouting and be like, oh, okay, I could use that in my salad versus waiting (Bolingbroke: Mm-hmm). To see like, okay, what are they going to bring present to me?
Christy Bolingbroke: The waiting or, or even waiting for permission (Jenelle: That part). Not only the invitation (Jenelle: Yes). Right. And, and that, that's such an interesting balance. It makes me think also about how you have also navigated, in both concert dance spaces (Jenelle: Mm-hmm) and what some would call more commercial dance spaces (Jenelle: Mm-hmm). Whether that's touring with Ladies of Hip Hop, battling and/or performing in prosceniums (Jenelle: Absolutely), music videos (Jenelle: Mm-hmm). And one of the questions that a lot of our students making that jump from the academic setting to the quote unquote real world (Jenelle: Mm-hmm) is music rights (Jenelle: Yes). And so I'm curious, talking about permission (Jenelle: Yes). And where you find the inspiration, do you have any thoughts or, or, you know, tales to share of what not to do as far as navigating those spaces?
Kara Jenelle: Yes. Yes. First and foremost, I'll say it depends on the intention as far as if you're maybe putting a visual together that you wanna put on YouTube platform, right? (Bolingbroke: Mm-hmm) You won't be able to monetize it if the music is copywritten. However, you will still be able to expose and share your work, right? (Bolingbroke: Mm) If you're looking to do it on social media, because you just want the product to be out there and or the process and sharing that because you have a story to tell or something you wanna share, great. You could do that without, you know, the pushback of copyright. You just know that you won't monetize off of it (Bolingbroke: Got it). If you're trying to actually. Get revenue from said project, then that's a different journey. And I would say that the industry has come light years from where it was initially. I used to get around it because I have a lot of DJ friends that would do Afrobeat remixes for me (Bolingbroke: Mm). Or um, a sound composers that would create like, you know, a full djembe foli, djembe kan on top of the music. And so adding those things, changing the speed and dynamic would allow me to kind of not get any, you know, strikes or issues with monetization. However, as those laws have become more strict, that creates more barriers around it. But there are programs in place now that will offer you licensure rights (Bolingbroke: Mmm). And that is through YouTube. I think Facebook or Meta has a program and also Lick’d, which is um, L-I-C-K, apostrophe D. They’re based in London. And they actually reached out to me as a content creator (Bolingbroke: Mmm) initially to ask about what type of songs and genres, you know, looking at the trending and the different kind of, analytics as, as far as what they want to put in their catalog and how we will be able to get revenue and pushback from that, um, monetarily (Bolingbroke: Cool) . And then when it comes to concert work, getting the permission first so that you don't end up with an issue where you have to change your entire sound score or composing something from scratch. Maybe it's something you're inspired by (Bolingbroke: Mm-hmm). But you can find a melodic tune that matches that energy or get a DJ or a music composer to create something from scratch or using live accompaniments and percussionist. Because I think they also still need to be compensated for their work and their contribution (Bolingbroke: Yes). And they still need to be acknowledged, credited, all the things. So finding that blend where it might be a percentage split, if you go through, you know, one of those platforms that has licensing rights or creating something from scratch and then being able to compensate the musicians accordingly.
Christy Bolingbroke: Brilliant. Amazing (Jenelle laughs). I mean you already brought in also so many, friends that can keep up (Jenelle:Yes). And, and say yes, and let's do this. (Jenelle:Yes). Let's do that. What, what else do you look for in collaborators?
Kara Jenelle: Ooh. I look for people that are interested in the “Why?” (Bolingbroke: Mm). You know, that are culturally competent, that are invested in the work and the process of the work, not just the product.
Sometimes it can be such a hassle trying to find some people who are not just focused on the, you know, the final result of it (Bolingbroke: Right). But also like, (Bolingbroke: just get the job done). Exactly. Yeah. But I think the right collaborators. Are invested in the process as well, and they have something to contribute to it. They're inspired by the work they have things they want to offer in the space. They are people I can call 'em and say, Hey, I have this idea. I know it might seem off the wall, but dah, dah, dah, dah, dah. Give them a rundown. And they're like, Oh yes, KJ, we can do that. And this is what I can offer X, Y, and Z. And I also like to collaborate with people who are also creating in and of itself (Bolingbroke: Hmmm) as well, because then there's reciprocity in our support for one another. I'm able to lean on them for support and also they know they can come to me and say, Oh, okay, I have a project that I also want you to be a part of, or wanna run this by you. And I'm always able to offer that support. So there's a, you know, reciprocal type of relationship (Bolingbroke: Yeah) between creators, whether it is in different disciplines or not.
Christy Bolingbroke: Like a mutually beneficial
Kara Jenelle: Absolutely.
Christy Bolingbroke: And, and then like an ongoing ellipsis, right?
Kara Jenelle: Yes.
Christy Bolingbroke: Because you don't always have to be the ones driving everything.
Kara Jenelle: Right. Right. Yeah.
Christy Bolingbroke: What do you look for if it's at all different in dancers that you want to work with?
Kara Jenelle: In dancers that I want to work with, I like hungry dancers (Bolingbroke: Mmm), in the sense of where they are interested in learning more. I am always a student regardless of how many years I may be practicing anything. I'm always a student, so I'm always eager to learn and I like to be around dancers who also have that same drive and passion. I would say also definitely have the foundation and root in traditional and folkloric movement and/or foundational styles that we can build on. Um, because there's just a lot, no matter how much I demonstrate a movement, it's not going to jump from my body onto yours. (Bolingbroke: Right). You have to have that , in and of it for yourself (Bolingbroke: Mm-hmm). And be able to embody it first and foremost. So if I am doing a practice that does not resonate with you, or does not relate to you, or you're not grounded in that foundation, I'll just use traditional West African, for example, right? There's going to be a lot more training that has to happen before we can get into the movement phrases or choreography or storytelling of it all (Bolingbroke: Yeah). You have to understand the foundation. So I look for people who have similar foundations and backgrounds and/or are definitely interested in learning and growing as a professional, ongoing, lifelong student.
Christy Bolingbroke: Because you are not just a maker (Jenelle: Mm-hmm). But you are also a mover (Jenelle: Mm-hmm). And participate in auditions and things as well (Jenelle: Mm-hmm). I'm, I'm curious to ask a sidebar question of (Jenelle: Absolutely) kinda, do you have a practice, a sort of game plan when you go into audition for others?
Kara Jenelle: I'll be honest, I have not auditioned in a while (Bolingbroke: Okay). It's been a long time. But I will say that I'm always present. I'm very observant and always present. And when I say present, I also mean professional. I am ready, overly ready. You know, call me a bag lady sometimes. I know I carry a lot. But at the same time, I never want to need something and not have it, right? (Bolingbroke: Hmm). So I'm going to have the extra tights or the extra leggings or you know, a change of clothes. I'm gonna have the headshot and resume print out, or the extra water snacks in case the day goes long I'm gonna have my, theragun or my massage. You know, just things (Bolingbroke: Yeah) that I know that my body needs and can use if I go into a long day, sometimes auditions have gone into rehearsal right away (Bolingbroke: Hmm). And you wanna have the, the things that you need for the day
Christy Bolingbroke: To sustain yourself.
Kara Jenelle: Absolutely. Sometimes you need different footwork. You might need heels and sneakers and a flat boot and you know, and be barefoot. Those are the things. So I definitely make sure I prepare myself. If I'm familiar with the choreographer or the type of work, I try to do my research to find that, find their movement aesthetic, find kind of just like the premise of what this, you know, project or gig or booking might be about, so that I also don't come in, um, you know, just unknowing (Bolingbroke: Right). Come in with some context at hand and know how to approach the things, even if it is a game changer or something new (Bolingbroke: Hmm). So, you know, I think just preparation is key and staying professional because also choreographers, creative directors, producers, they are watching the room. It's not just about the talent in the space (Bolingbroke: Hmm). It's also about how you carry yourself, how you conduct yourself. Are you showing up on time? Are you open to changes? Are you easy to work with? And easy does not mean complacent (Bolingbroke: Mm-hmm). You know, you can still advocate for yourself, but just being someone who they will know. I can trust this person. I can trust them with the job. I can trust them in the travel. I know they will represent our company or organization well, and they will, they will step up to the plate and get the job done.
Christy Bolingbroke: There's so much in all that you shared that's so beautiful. I'm reminded like, you don't have to get ready, if you stay ready.
Kara Jenelle: Stay ready, so you don't have to get ready.
Christy Bolingbroke: And, and…
Kara Jenelle: The proverb.
Christy Bolingbroke: It doesn't mean that it's cold, you know? (Jenelle: Mm-hmm). That you can still improvise (Jenelle: Mm-hmm). But you're improvising from a place of groundedness and, and availability instead of (Jenelle: Mm-hmm) reacting (Jenelle: Absolutely)…to everything. Oh my God. They want me in heels now. They want, you know (Jenelle: Right). But you're like, great, I, I brought these just in case (Jenelle: Exactly). Yeah. And then the presence about how creative directors, casting agents, choreographers are reading the room (Jenelle: They are). It is not just about who is the best dancer (Jenelle: Right, right). Oh my goodness. (Jenelle: Especially when)…life skills.
Kara Jenelle: Exactly. Exactly. Especially when you're in these meccas that, you know, everybody here is talented, so what else? You know?
Christy Bolingbroke: Right.
Kara Jenelle: What's different?
Christy Bolingbroke: Right (Jenelle: Yeah). Wow. Ooh, okay, so back to you as a maker though. It would be so hard to imagine 'cause you bring such joy and energy (Jenelle: Mm-hmm) every time that I've gotten to interact and work with you.
Kara Jenelle: Thank you.
Christy Bolingbroke: But I know you're human.
Kara Jenelle: Mm-hmm.
Christy Bolingbroke: And so I would imagine there might be some days that you're not feeling it.
Kara Jenelle: Mm-hmm.
Christy Bolingbroke: Uh, a creative rut if you will. So do you have any practices to get through those moments?
Kara Jenelle: I'll be completely honest, I book flights (laughs).
Christy Bolingbroke: Oh, okay. Say more (both laugh).
Kara Jenelle: I am a, let me go out in the world and woosah.
Christy Bolingbroke: Yes.
Kara Jenelle: Yes, yes. If I am not feeling inspired, if I'm feeling like it's a chore, because let's be honest, most of us did not choose dance because, oh, this is going to be the most, um, revenue driven (Bolingbroke: Yeah) the career path (Bolingbroke: Lucrative). Lucrative, if you will. You know, I'm trying to choose my words wisely 'cause never wanna set any boundaries, but the reality of it is, it's something that we're passionate about, right? (Bolingbroke: Mm-hmm). It's something that we love to do. So at any point in time, if it becomes a chore, if it feels laborious in a way that I'm not enjoying it, or if I'm just like, I don't feel the spark at all, I one, I will set the timeline according to how I can actually make the things happen.
Christy Bolingbroke: Mm.
Kara Jenelle: Um, I don't like operating. There's times when you have to definitely be on an agenda, but also I'm at a place now in my life where there's more ease. I can do things in my time when I am actually feeling motivated to do it (Bolingbroke: Mm-hmm). The discipline is there, so the things will still get done. On the admin side, the things are going to happen, however. If I need to choreograph at three o'clock in the morning, and that's what I need to do and that's what I need to feel, that's what I'm going to do. If I call up friends and I'm like, Hey y'all, I just wanna get some movement out of my body onto some other artists, and I booked some studio space, so y'all available, I have the leisure to do that (Bolingbroke: Hmm). And I've taken ownership in letting that be a part of my process and letting the things speak to me as they do. I will say that when I am in a rut or if I feel frustrated about whatever, or just. I don't know, a lack of energy. I think that the same way our plant will perk up in the sun when they're out for the day or you water 'em, they go from like kind of wilting to like, Ah, yeah (Bolingbroke:. Yeah). I find that for myself when I'm on other grounds, like I'll take a solo trip to Cartagena, Columbia or say, Oh yeah, can we go to Cuba this? Yes, let's go and just be amongst the people and dance and just be in it (Bolingbroke: Mmm) and away from, you know product driven aspects away from the mirrors or videos or things that are kind of more of the commercialization of dance (Bolingbroke: Mm-hmm). And/or the we have to produce, produce, produce (Bolingbroke: Yeah). And more so just get back to the love of it (Bolingbroke: Mm-hmm). And so sometimes for me that is like out in, you know, a different country or just me being in traditional classes where there is live percussion and I can just move and not be KJ teaching (Bolingbroke: Mm). I also love to take class (Bolingbroke: Mm). I love, love, love taking class because it also, you can't pull from an empty cup. And as an educator, as a teacher, we do give a lot of energy. I am an energy person, but I also have to feed that (Bolingbroke: Mm-hmm). You know, so those are some of the things I do.
Christy Bolingbroke: And I love that it's not just any one thing (Jenelle: Mm-hmm). It could be change of venue (Jenelle: Mm-hmm), it could be change of context. This idea too, you, you brought up cultural competency (Jenelle: Yes). And I love the idea of sometimes booking a flight and is going to the culture (Jenelle: Yes) where it's more centralized (Jenelle: Yes), so that you don't have to reach for it so hard from an operating environment like Los Angeles or Atlanta.
Kara Jenelle: Absolutely. And or sometimes sitting and hitting the underground spots and the clubs and the speakeasys, you know, because sometimes it is in my backyard as well (Bolingbroke: Yeah). But just finding it in a way where I just switch up the environment and switch up the intention and it's just about me feeling good and enjoying the music and the vibes and, you know (Bolingbroke: Mmm), the, the communal social aspect that I love to have.
Christy Bolingbroke: We have been working together through the Creative Admin Research Program and it was actually getting to participate in your art moment (Jenelle: Mm-hmm) where you taught a class to some of us administrators over Zoom (Jenelle: Yes) that Nakiasha Moore-Dunson and I, NCCAkron's Program Manager were like, We want KJ to come in and teach as part of 21st Century Dance Practices (Jenelle: Yes) which is so much bigger than any one genre (Jenelle: Mm-hmm).
Christy Bolingbroke: But I wanna invite you, you said yes to the invitation. (Jenelle: Absolutely). But would love to hear your definition. What are 21st century dance practices?
Kara Jenelle: 21st century dance practices, they don't, like you said, they don't sit in one genre. I think it's about different dance forms that have been created and cultivated in the 21st century that are rooted in foundational genres and styles that now have kind of pushed to the forefront of having its own category, own presence, own intention and own expression. I see it a lot specifically in street dance forms, and that is where I have seen a lot of commonalities across, you know, house dance and, and dance hall and Afrobeats and just kind of leaning more into the, the technique that sometimes comes out as a trend when we see it in the forefront or on mainstream media (Bolingbroke: Mm-hmm). But it really is grounded in the culture and the innovation of the people that practice it (Bolingbroke: Yeah). You know, we come from different backgrounds, um, and I could definitely say, Okay, time period X, Y, and Z. But I think it's bigger than that. I think it's about decentering what has been traditionally the um traditional dance forms that are rooted in a lot of dance departments (Bolingbroke: Yeah). Decentering that work and saying that no, these other dance form forms also res, not just resonate with the students, but also inform the times (Bolingbroke: Mm-hmm). You know, they also are demanding and responding to the music (Bolingbroke: Yeah). It also about the pop culture and just, you know, the essence of who we are as artists these days, and there's a blend and a myriad as far as how those genres kind of connect in many, many ways.
Christy Bolingbroke: There's a liveness that I hear in your description uh, street dance, social dance forms are sort of expanding.
Kara Jenelle: There's an aliveness also, because I think most of these forms are not, they’re not codified in the same way (Bolingbroke: Yes). You know, they weren't built for the studio teaching in a mirror. Five, six, seven, eight. They were birthed in the clubs. They're birthed out at the…of, you know, the townships of Mzoli. They're birthed in, you know, the New York streets and Philly and Chicago. And that's also why it's beautiful, because we have even regionally (Bolingbroke: Mm-hmm) you know, there's also specificities as far as what comes from where and who are the creators. And these are people that are still with us today (Bolingbroke: Yeah). You know, for (Bolingbroke: Yes), generally speaking, right? And so even when I talk about, um, hip hop and what different states and areas and like subsets of music has been popular, whether, you know, I just came from Atlanta, so the trap, APL, that that was my high school experience (Bolingbroke: Mm). And there's movements and dances. Like I can give you a step in, you know, Sunu or Soboninkum of a traditional Guinea rhythm, but I can also still describe the movement of, All right, you know, the pool palace, how to walk it out is the same. Thing (Bolingbroke: Mm-hmm). And so just, I think there's, um, something powerful and fresh as far as, you know, definitely maintaining the roots and the foundation, but bringing forth these new, like regional, and it's hard to say new, right? (Bolingbroke: Mm-hmm) But new century dance practices (Bolingbroke: Yeah) does resonate with that and or call and get. And identifying it for that, because a lot of these names were placed on movements because people wanna start learning it (Bolingbroke: Hmm), and they were learning it outside of its original context. So if we're gonna share it, okay, but let's say this person created this step and dah, dah, dah, and it was done for this way, but now you also have the freedom to, uh, create different dynamics with it, to remix it to, create work that still is definitely necessary today (Bolingbroke: Yeah). And it be a, a 21st dance century practice.
Christy Bolingbroke: Yes. You're tapping so many things and reminding me (Jenelle: Mm-hmm) to especially to think about, you know, one, maybe 21st century dance practices (Jenelle: Mm-hmm) are having more tools to interrogate (Jenelle: Mm-hmm) the conservatory environment that is predominantly white in our history (Jenelle: Mm-hmm). Two, you're reminding me like we've been really fortunate to have practitioners like the Era Footworking Crew (Jenelle: Yes). And Breakfast Dance or Raphael Xavier. So for our listener friends at home, I'm inspired. I need to go back (Jenelle: Get into it) because I know that Raph said something that blew my mind at the time and I need to revisit it. He was talking about the difference between improvisation (Jenelle: Mm-hmm). And freestyling (Jenelle: Oh, yes). And, and so like hearing your description, I was like, oh, I need to go revisit that, because I think that's something that continues to remind how we interrogate (Jenelle: Mm-hmm), how we continue to, be ready (Jenelle: Right). And, and responsive as well as push forward (Jenelle: Mm-hmm). With this in mind, I don't wanna, you know, lead you in your answer,
Kara Jenelle: No, it’s fine.
Christy Bolingbroke: But I wanna ask you in your terms, how would you define virtuosity in dance?
Kara Jenelle: Ooh. Hmm. Virtuosity. We know, like you wanna be someone who is a skilled performer, practitioner in the thing that you study and the thing that you share. But I think that there's also integrity that goes into that.
Christy Bolingbroke: Hmm. Yeah. Say more.
Kara Jenelle: You know? I was introduced into the traditional West African dance community, um, at a time where, you know, I will go to the conferences of Maimouna Keita in BAM, a dance place and things. Um, Dance Africa, Dance Place. And there would be, you know, Yo Baba Chuck, Youssouf Koumbassa, your, um, of course Maimouna Keita, rest in power. There are so many master teachers, master drummers, and that is a word that I would resonate with virtuosity (Bolingbroke: Mmm). And the reason why is because they are also cultural bearers. They are people who, you know, whether they're griot or djembe khan or a hip hop influencer dancer, um, uh, creator, dynamic tradition bearer, you name it. I think that there is something that sits as a responsibility when you know that I have studied and trained in this thing and or been born in it, or a part of it for X amount of time, but I also respect it and I hold responsibility to maintain it in this most in, in trickle point and part (Bolingbroke: Yeah). So I think there is a level of mastery that you would want to be able to lean into, or at least a ma a level of experience. I definitely do not consider myself to be a master, but I do know that people will come to me as a resource for certain things or to say, Hey, okay, was this right? dah, dah, dah. You know, or point in the right direction. And so I think that virtuosity is about integrity and mastery (Bolingbroke: Mmm), together.
Christy Bolingbroke: Beautifully put because you know, so much of that reminds the idea of the “Why?” (Jenelle: Mm-hmm). Like being curious in the why (Jenelle: Mm-hmm). So, um, perhaps as a former competition dancer, virtuosity was being able to nail that many turns (Jenelle: Right). Hit my head with my leg (Jenelle: Right). Whatever that was. But that was not necessarily something I could master or sustain (Jenelle: Right) to have longevity in the field (Jenelle: Right). And so this idea of, of how integrity factors into your practice (Jenelle: Mm-hmm). As, as virtuosity to be constantly becoming and evolving (Jenelle: Mm-hmm. Mm-hmm). I'm picking up what you're putting down.
Kara Jenelle: Yes, yes. And I think there's something about the longevity as well, because. I would say most people that would consider themselves to be, uh, you know, in that category, they also are probably educators and sharers of it because they care about the longevity (Bolingbroke: Mm) Right? Like, I remember being at Ailey, taking Dunham with, I believe Joan Peters at the time, and she's sitting in her chair with the stick. Giving us all the technique, all the notes, all the detail we need (Bolingbroke: Yep). Right? But it's not about what your physical body can still do. It's about knowing ((Bolingbroke: Hmm) the ins and outs of the technique. Being able to, I'll find moments in my own education practice where I can be like, Wait, I can give you two words and be able to correct all of this as far as alignment or where the placement is or whatever (Bolingbroke: Right). And that has come with time and the craft. Of being a teacher and educator as well. And so I think that there is something to be said about continuing the practice and having the longevity of that, but also the research component of it (Bolingbroke: Mm-hmm). And knowing I can give technique, I can give background, I can give musical composition, I can give where it sits in the music, I can tell you I can correct you without even having to do it myself because I know it that well (Bolingbroke: Mm-hmm). It's like a recipe (Bolingbroke: Yeah), you know my mom's quiche, she can tell me she can take one taste and Mmm. You missing, da da dah, dah (Bolingbroke laughs) Right? I didn't have to walk her through, okay, first I did this and I put this amount of egg wash.
Christy Bolingbroke: She's like, I can taste it.
Kara Jenelle: She can taste it. Because she knows the recipe through and through.
Christy Bolingbroke: Yes.
Kara Jenelle: So I think it's the same like principle applies.
Christy Bolingbroke: Love that. Oh my goodness. Yeah. You have dropped so much knowledge for (Jenelle: Oh) us and advice, but I do have my, my last question.
Kara Jenelle: Okay.
Christy Bolingbroke: If you would like to pass forward the best piece of advice that you've received (Jenelle: Mm-hmm) in navigating this creative life?
Kara Jenelle: There's so many times that you submit for projects that you apply, that you put in your bid for X, Y, and Z. You, you know, you go after a job, you go after a gig, you go after a choreography project, you go after being a part of a cast or ensemble. But really and truly what is for you will not miss you (Bolingbroke: Mm-hmm). And sometimes that may be timing. You know, a denial is not, or delay is not a denial (Bolingbroke: Mm). And that also, I really believe and everybody, you know, practice being your spiritual practice in your journey. But I know that God has me and being someone out in this world, literally (laughs) , I know that there's a sense of protection there, but I also know that a lot of times you're casting out your net for multiple things (Bolingbroke: Mm-hmm). And so when things come back in, I'm like, okay, God, close the doors that are not for me and open the ones that should be. (Bolingbroke: Mmm). Allow it to be easy for me to be clear in my path and in my journey so that I'm not mistaken or caught up in the wrong, you know, aspects or things 'cause that can also happen. I say also stay professional in all that you do. Like, be mindful about how you interact with people, how you engage, continue to be a student, continue to learn and just know that this world is so connected (Bolingbroke: Hmm), so in a beautiful way, your circle or network can be as small or as massive as you want it to be, but know that. Everybody is connected in some way, shape or form. There's (Bolingbroke: True), not even six degrees of separation, I would say like two (Bolingbroke: Yeah). Looking at that wall out there (Bolingbroke: Especially in dance) Absolutely (Bolingbroke laughs). So it's like, you know, just stay true, advocate for yourself. But yeah, like it's easy to get caught up about what you don't have or to get into comparison (Bolingbroke: Mm). And I try to stay far away from that and just know that my journey is my journey and I don't need permission also to tell my story. (Bolingbroke: Mm-hmm). So I also know that putting that out there and being obedient to that and being intentional with that also opens the right doors that I need to walk through.
Jennifer Edwards: Inside the Dancer’s Studio Conversation Series is produced by NCCAkron and supported in part by the University of Akron, the University of Akron Foundation, the Mary Schiller Myers Lecture Series in the Arts, and Audio-Technica, a global audio manufacturer with U.S. headquarters in Northeast Ohio. Our podcast program is produced by Lisa Niedermeyer of Handmade Future Studio. Rahsaan Cruz is our audio engineer, with transcription by Arushi Singh, theme music by Floco Torres, and cover art by Micah Kraus. Special thanks to Laura Ellacott, Sarah Durham, Christi Welter, Nakiasha Moore-Dunson, and Dante Fields. To learn more about NCCAkron, please visit us online at nccakron.org. And follow us on Instagram or Facebook at NCCAkron. We hope you enjoyed this episode, and we encourage you to subscribe on your favorite podcast streaming platform by searching for Inside the Dancer’s Studio. Thanks for listening and stay curious.
Audio for interview here: https://drive.google.com/file/d/1yHia5N2JBQk9LJWyFIyf_8O3Py39v8Or/view?usp=sharing