For more than a decade, audiences have flocked to OZ Arts for bold, innovative programming that showcases a diverse lineup of acclaimed U.S. and international artists. Yet this vibrant contemporary arts center also provides a much-needed home to local creatives, supporting the development of new work while offering vital opportunities for collaboration and community engagement. This weekend’s premiere of Solus + Synergy is a perfect example.
Highlighting two new dance works — one from Becca Hoback with Kaitlyn Raitz and the other from Shackled Feet Dance with Rod McGaha — it’s an enticing double bill that takes on profound themes in a fresh, inspiring way. Both pieces also emphasize multimedia experimentation by merging dance, film and live music.
The evening opens with Hoback’s Solus, a deeply personal solo performance that examines “a search for the sacred and profound.” Created in collaboration with composer and cellist Kaitlyn Raitz, this autobiographical dance/film/music triptych represents the culmination of Hoback’s multiyear Sacral Series — a collection of powerful dance solos that “explores the harmful effects of purity culture.” (Audiences will likely recall previous installments, including Initial Dissent, most recently presented at the Darkhorse Theater in May, and Mellow Drama, which premiered at Kindling Arts Festival in July.)
“It’s been such an interesting journey,” says Hoback, who previously appeared at OZ Arts with Enactor, a debut of solo dances in 2021 that she has since toured to various European festivals. “I’ve learned so many lessons along the way, both personally and professionally. Emotionality and vulnerability are at the heart of everything I create, but this project is especially personal. I’m thrilled to finally share it, and hope that people will connect with it.”
Becca Hoback
Despite the solitary, contemplative nature of Solus, Hoback says Raitz’s contributions have been invaluable.
“This is our first time working together, but from the beginning, I’ve felt an inherent sense of trust with Kaitlyn,” Hoback says. “She has a beautiful sensibility in her composing and in her playing, which aligns so well with the sensitivity and vulnerability that I’m trying to embody onstage. Much of our collaborative process has been virtual, just due to our schedules. But I feel like we’ve struck a really cool balance. I’ve still felt the intimacy of solo practice, but to have someone on that journey with me is quite special.
“I’m grateful to be returning to OZ and feel so supported by them,” she adds. “We’ve been talking about this project for such a long time now, so to be able to share this final section of Sacral in a place that feels so safe has been really exciting. And I’m so honored to share the stage with Shackled Feet Dance. I love their work, which is really built on community, and I think Synergy will offer a wonderful complement to my solo piece. I feel like there will be a nice balance, and a beautiful energy to the evening.”
Indeed, the second portion of the program features celebrated choreographer Shabaz Ujima and longtime collaborator Thea Jones of Shackled Feet Dance, debuting a new work titled Synergy. Featuring an ensemble of multigenerational movers, this joyful work centers on the “liberation of the body and mind” through the spirit of “Black classical music” — Miles Davis’ preferred term for jazz.
“A big part of our mission is about building community in a way that allows us to celebrate our differences,” says Ujima, who established Shackled Feet Dance in 2016. “Because what makes our community so beautiful is the fact that it’s so diverse. And that’s really the concept behind Synergy — bringing all of these different energies and perspectives together to create something that moves us all in a positive way.”
Synergy’s performers range in age from 21 to 77, and include artists from Friends Life Community — an organization dedicated to creating opportunities for adults with developmental disabilities.
Talking to Banning Bouldin and Becca Hoback about moving contemporary dance forward in Nashville
“It’s important for us to create a cast of people that truly reflects our community,” Ujima says. “It’s an honor — and I think a responsibility — to create space for different abilities, different ages and backgrounds and body types. I love that we’re able to showcase artists that we don’t always get to see onstage, and to share all those different stories.”
Much of the story of Synergy is built on the work of trumpeter, composer and visual artist Rod McGaha, who also has created video projections featuring his unique artwork.
“I’ve been collaborating with Rod for several years now,” Ujima says, “and what I appreciate so much about him is that his approach is always to explore, to play and improvise. Rod is not only a musician, he’s an incredible visual artist whose work has been presented at the Frist Art Museum, Fisk University and more. So it just felt natural to include Rod’s work, to create an immersive experience that shows how artists really thrive when in community with other artists.”
Ujima says Synergy features an original score from McGaha, who will be performing live, along with percussionist Nioshi Jackson. The piece experiments with structured improvisations from both the musicians and dancers.
“When I think of OZ Arts, it’s not just about seeing a performance,” he says. “It’s an experience. So we wanted to create an experience where the audience is immersed in art and music and movement, to create a communal vibration that lasts long after they leave the theater.
“That’s what’s so important about OZ,” he continues. “Yes, they bring in all of these incredible artists from around the world, but they’re also providing a space for what’s happening right here in Nashville. They’re bringing people together through these artistic experiences, allowing us to connect and grow. And with the world being so divided right now, that’s something to celebrate.”
