Response to Lauren Warnecke’s Review of Deeply Rooted Dance Theater’s Season Opener by Kevin Iega Jeff
Nyemah Stewart as "Sister Soul'Jah" (dancer) in Flack, choreographed by Kevin Iega Jeff, photographed by Jennifer Jackson, provided courtesy of Deeply Rooted Dance Theatre
Deeply Rooted Dance Theater’s season opener was performed on November 16, 2024 at The Auditorium Theater featuring choreography by Artistic Director Nicole Clarke-Springer, Emmy-nominated director and choreographer Jeffrey Page, Ulysses Dove, and Co-Founders Kevin Iega Jeff & Gary Abbott.
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Lauren Warnecke’s November 2024 review of Deeply Rooted Dance Theater’s season opener at the Auditorium Theatre, titled “Deeply Rooted Dance Theater need not cling to the past when its future is so bright,” offers a perspective on the evening’s performances that warrants a thoughtful response. While I appreciate the attention given to our company’s work, there are significant points in the review that require clarification and contextualization, particularly regarding the nuances and historical underpinnings of Black Dance and Deeply Rooted’s mission.
First and foremost, I must express my deep appreciation and respect for the gifted leadership of Artistic Director Nicole Clarke-Springer. Her brilliant choreography, tireless leadership, and impassioned vision were evident on that stage. In taking on the artistic mantle of the company, Nicole has not only upheld Deeply Rooted’s mission and values, but has also infused the company with fresh energy and innovation.
Also deserving of recognition is Makeda Crayton, Deeply Rooted’s new Executive Director. Working behind the scenes, her leadership has been pivotal as the company continues to grow, including the expansion of its artistic programming, the breaking of ground for the new Deeply Rooted Center for Black Dance and Creative Communities, and the cultivation of community engagement efforts that deepen its impact in Chicago and beyond.
Deeply Rooted’s work is grounded in authenticity, shaped by the enduring legacy of Black Dance, and propelled by a mission that extends well beyond the stage. My intention in responding to Warnecke’s review is not to engage in a contentious debate, but rather to open a respectful and collegial dialogue with valued colleagues. This is a cordial attempt to set the record straight, particularly where certain inaccuracies were expressed in the review. While we welcome and value critical discourse, it’s equally important to address misconceptions in order to offer a fuller and more accurate picture of the company’s journey and vision. This response is expressed in the spirit of honoring our legacy, the truth of our work, and the best inspired interests of the Chicago dance ecosystem at large.
On Jeffrey Page and the Black Dance Ecosystem
Warnecke opens with a sense of incredulity about how Deeply Rooted secured Jeffrey Page’s commitment to create a world premiere for the company. She writes, “It’s tempting to wonder how Deeply Rooted got Page to say yes.” This sentiment reveals a limited understanding of the interconnectedness within the Black Dance ecosystem. Page himself has expressed how profoundly inspired he has been by Deeply Rooted’s legacy, noting our company’s role in influencing his artistic journey. His collaboration with us reflects the mutual respect and deep ties that exist within the Black Dance community—a network that often goes unrecognized or undervalued by critics and the broader dance world.
This lack of awareness underscores a larger issue: mainstream critics frequently lack the curiosity or initiative to learn about and appreciate the histories, relationships, and aesthetic values of Black Dance. Without this knowledge, reviews such as Warnecke’s fail to fully capture the depth and significance of what they critique. As someone who has dedicated over fifty years to this art form, I see this as a missed opportunity to honor the vast contributions of Black Dance and its progenitors.
The “Underdog” Label and Structural Inequities
Warnecke’s characterization of Deeply Rooted as a “bit of an underdog” reveals a broader misunderstanding of the systemic inequities Black Dance companies have historically faced. While we have never seen ourselves as underdogs, we have strategically navigated a funding landscape that has disproportionately favored white-led institutions.
The 2019 report Mapping the Dance Landscape in Chicagoland highlights stark funding disparities, noting that over 56% of grant dollars go to just three majority-white institutions, while only 9% support dance rooted in non-white or ethnic traditions. In this inequitable environment, many smaller, Black-led companies are left to operate on shoestring budgets—making the achievements of organizations like Deeply Rooted all the more remarkable.
Despite these challenges, we have consistently upheld impeccable artistic standards, nurtured world-class talent, and maintained a commitment to cultural integrity. Our work is not about competing with the so-called “big dogs” but about aligning with our mission to educate, uplift, and inspire through dance. This is our form of “big dogging,” rooted in service to our community and the preservation of our artistic legacy.
Cultural Integrity and the Weight of Legacy
Warnecke describes Deeply Rooted as a “late bloomer,” citing the upcoming $20 million South Side dance center as evidence that we are no longer “underdogs.” While I celebrate this milestone alongside our co-founders, new leadership, staff, and board, it is important to provide deeper context about the foundational work that made this achievement possible.
The vision for the Deeply Rooted Dance Center took shape in 2018—first during my tenure as Artistic/Executive Director, then evolving as Creative Director. As is often the case, the company faced a dual challenge: upholding artistic excellence while building the infrastructure needed to support a growing organization and envisioned institution. Wearing both artistic and executive hats, I worked tirelessly—fostering relationships with key stakeholders who shared our vision, and securing initial funding to help bring that vision to life. This effort laid the groundwork for establishing a permanent home for Deeply Rooted and its partners on Chicago’s South Side.
By the time I completed my tenure in 2022, the vision for the dance center and the foundational funding to support it were established. This strategic groundwork positioned the new Artistic and Executive Directors to work alongside the development team, board, and capital campaign committee—on which I continue to serve—to bring this project to fruition. The dance center is not simply an infrastructure milestone: it is the culmination of years of visioning, planning, and overcoming systemic barriers to ensure that Deeply Rooted and its partners have a sustainable home for future generations.
Our work has always been grounded in authenticity, shaped by the lived experiences and teachings of Black Dance pioneers such as Bernice Johnson, Lee Aca Thompson, and Alvin Ailey. These foundational influences inform my commitment to cultural integrity and the deliberate pace at which we build our legacy. Achieving sustainability in this framework requires patience and resilience, especially given the systemic inequities that delay access to funding and resources for Black-led organizations.
Warnecke’s suggestion that we are “no longer underdogs” because of a single capital achievement oversimplifies the decades-long effort it has taken to establish a foundation for Deeply Rooted’s growth. Although essential, our trajectory has never been solely about reaching financial or infrastructural milestones; it has been about aligning every step with our mission to preserve cultural authenticity, uplift our community, and create opportunities for the next generation of artists. This is a legacy built on more than buildings: it is built on the values, teachings, and perseverance of a community committed to artistic and cultural excellence.
On the Misrepresentation of Aesthetic Values
Warnecke’s description of Jeffrey Page’s Lifted is telling in what it omits. While she highlights the gospel-infused music and elements of vernacular jazz, she fails to acknowledge the African aesthetic at the heart of Page’s work. This omission is significant as it reflects a broader tendency within mainstream criticism to overlook or minimize the African roots of contemporary Black Dance—and its profound influence on both classical and contemporary mainstream dance forms in every sense.
Critics should share what they know with knowledgeable clarity—and approach what they don’t know with genuine curiosity and a willingness to learn.
Similarly, her evaluation of legacy works like Gary Abbott’s Desire and my own Flack misses the mark by failing to contextualize their African aesthetic within Deeply Rooted’s broader mission, the ways in which these works contribute to the artistic growth of the company’s dancers, and the value our audience places on them. Warnecke dismisses these pieces as “dated” while praising Ulysses Dove’s Urban Folk Dance for its timelessness. This comparison reveals a bias that elevates so-called minimalist Western forms—such as those associated with George Balanchine and Alfred Hitchcock, both referenced in Warnecke’s review—while overlooking their foundational connection to African aesthetics. Additionally, should critics be the ones to determine which elements of a company’s repertoire are deemed worthy of preservation or celebration?
On the Audience and Community Response
Warnecke’s critique of the evening’s “long night” overlooks a crucial detail: the audience’s overwhelming enthusiasm. The joy and energy in the Auditorium Theatre were undeniable, with nearly 2,000 people fully engaged and deeply moved by the performances. This response speaks to the community’s connection to our work and their recognition of the authenticity and integrity we bring to the stage. Kathy D. Hey’s review in Third Coast Review offers a more insightful reflection of the diverse audience’s experience that night.
The Need for Informed Criticism
In closing, I’d like to address the broader implications of Warnecke’s review. While critics are entitled to their opinions, they are not entitled to misrepresent or minimize the historical record or significance of Black-led institutions. Black organizations deserve to be reviewed by writers who understand our aesthetic values, honor the communities we serve, and approach our work with curiosity and respect.
The fact that Deeply Rooted is in the process of achieving a significant capital campaign, continues its legacy in commissioning works by celebrated choreographers, and actively inspires new generations of dancers is a testament to our resilience, vision, and enduring impact. My hope is that critics approach these achievements with an understanding of their depth, rather than filtering them through personal or cultural misinformation or biases.
Deeply Rooted’s legacy is not only about presenting inspiring, life-affirming dance—it is equally about advancing equity, preserving cultural integrity, and catalyzing meaningful change. These are the values that guide our work, and they deserve to be understood, honored, and uplifted.
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Kevin Iega Jeff is an accomplished dancer, award-winning choreographer, acclaimed artistic director, respected dance educator, and innovative executive leader. He creates transcendent works while inspiring those around him to foster extraordinary lives, onstage and off, through dance/art-making.
