Lily Kind is a choreographer, dancer, producer, and writer interested in why we dance (or don’t). Her background in anthropology informs her curiosity about the traditions, rituals, and power structures of Diasporic dance traditions. Right now, her visual art practice uses found materials, taking pleasure in finding ways to give away or redistribute what she makes. She’s wondering how the mischief in her dance-theater works on paper. Her dance work has been presented by Table Gallery (Chicago), Miami Light Projects, Sarasota Contemporary Dance Company, the Creative Alliance (Baltimore), and The Baltimore Museum of Art. Her dance writing has been published by Culture Bot, Phindie, thinkingDance, DanceItalia, and ArtBlog. From 2008 – 2014 she directed the critically acclaimed Effervescent Collective in Baltimore, Maryland. She has performed in Philly with Chelsea Murphy, Magda San Millan, Mark “Metal” Wong, and The Medium Theater Company. Under the leadership of Vince Johnson, Lily helped develop Urban Movement Arts (UMA), from 2017-2020, where she directed an Artists in Residence program and the works in progress series Workinonit. Lily also teaches Lindy Hop and Vernacular Jazz as a co-founder of Ragtag Empire. Outside of Philly, she has taught vernacular jazz at California Institute of the Arts, and in Costa Rica and Belgium. She is an alumnus of Breai Mason-Campbell’s black dance preservation group Guardian Baltimore. In 2021, she co-created dance history podcast Tracing Steps with Mel Cotton and Adriana Imhof. Lily is one of few US American trained extensively in Flying Low and Passing Through, the improvisational floorwork style of David Zambrano. She holds an MFA in Interdisciplinary Arts and Performance Creation with a concentration in Afro-Diasporic Studies from Goddard College, a BA in Individualized Interdisciplinary Studies from Goucher College, and a certificate from Headlong Dance Theater. She likes jokes.
Pink Noise Projects 