We recently connected with Lovar Kidd and have shared our conversation below.

Lovar, looking forward to hearing all of your stories today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?

I am indeed happy as an artist and creative, but when deadlines are tight and budgets are small, I find myself thinking of the other things I could have chosen. I’ve been a licensed massage therapist since 2007 but have never worked full-time as an LMT. Before starting my graduate studies in dance at the University of Iowa, I considered transitioning to massage therapy full-time as choreography is a difficult field to be successful in, especially when you are located in the Midwest.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

Lovar Davis Kidd (he/him/they), a native of Cedar Rapids, Iowa, is an interdisciplinary performer, a dance researcher focused on the black dancing body, musician, poet, and dance maker. He is an MFA Candidate in Choreography at the University of Iowa. L.D. engages in choreographic research grounded at the intersection of contemporary movement practices with black vernacular aesthetics. Utilizing the transformative potential of his dancing body in African American social dances and hip-hop dance, his research focuses on spiritual and transcendent experiences. Through rhythm and sustainability of repetitive movements, these elements create a meditative state that allows him to commune with his spiritual self, transcending his physical body and allowing him to connect with his ancestors. He seeks this connection through traditional African American social dances that originated from enslaved Africans in the 19th century, such as the Juba, Buck, Wing, Cakewalk, and Jig, which have profoundly impacted the development of hip-hop dance and my personal embodied practices.

He examines the role of digital media as a tool for capturing his inner emotions and spiritual self, manifested on the exterior of his body, as an attempt to reclaim the role of media on black bodies. His approach to digital media, and the mediated body in performance, is also used to direct the audience, creating a clear narrative of his journey. Through this exploration in digital media, L.D. aims to shed light on themes of community, resistance, joy, creativity, and identity that have always been present in African American social dances and hip-hop dance. This process brings him closer to his ancestors and furthers his research in spiritual transcendence through hip-hop dance.

His art-making process reflects his black heritage and is rooted in social justice, Equity, Diversity, Inclusion, Accessibility, and Belonging (EDIAB), work through his company, 100% OVER RACISM. L.D. has performed extensively in dance and musical theatre productions throughout the US. Most notably, Kidd performed in the 2011-2012 2nd National Tour of Lin Manuel Miranda’s In The Heights, Tim Rice & Elton John’s Aida at Sacramento Music Circus, Disney California Adventure Park’s Aladdin “A Musical Spectacular” and with the Radio City Rockettes Christmas Spectacular. L.D. has also danced for Helanius J. Wilkins’ EDGEWORKS Dance Theater and Los Angeles-based dance companies Word In Motion and Urban Poets.

As an educator, L.D. has taught in various capacities. He is a teaching artist with Throughline Arts, specializing in arts integration with K-8 students. L.D. also worked as an adjunct instructor at the University of Iowa for ten years, teaching jazz, tap, hip-hop, and dance for musical theatre. In addition, L.D. is the founder of MOvMNT Dance Company (MDC), a non-profit contemporary & hip-hop dance company in Cedar Rapids, IA, that had the privilege of providing hundreds of under-served students with affordable dance classes and performance opportunities for 13 years.

Are there any resources you wish you knew about earlier in your creative journey?

Grants! Had I known about artist grants earlier in my creative journey, I believe that my knowledge and collaborator databases would be overflowing. It’s only been within the last 5-7 years that I have learned what is available for artists on both the local and national levels, and these funds can help take their creative research and performances to the next level.

How can we best help foster a strong, supportive environment for artists and creatives?

I believe that it is necessary for society to witness art in all of its wonderful forms. We all have preferences on the art we really enjoy, but artists are always full of surprises, and you might see, hear, or feel something at an event you wouldn’t traditionally go to. I know that this has been true for me as a performing artist who chooses to see other forms as often as possible. It is also important for you to donate to arts organizations, scholarship programs, and other businesses that are supporting artists.

Contact Info:

• Website: https://www.lovardaviskidd.com
• Instagram: @lovardaviskidd
• Facebook: https://www.facebook.com/lovardaviskidd
• Linkedin: https://www.linkedin.com/in/lovar-davis-kidd-b8595b11
• Youtube: https://www.youtube.com/channel/UCo26itw3L9_2xyIpGKcFfvA