Today we’d like to introduce you to Patrick Smith.
Hi Patrick, please kick things off for us with an introduction to yourself and your story.
Born in Little Rock, Arkansas, my artistic path began as a distracted young boy with a vivid imagination. While in class, I would doodle and stare-off into my imagination. While at home, I was being prompted to dance by my father who would be watching Soul Train–asking me to do the dances I saw. But was not until the end of 6th grade that a teacher showed the class video tours of potential middle schools to attend in our city.
Horace Mann Arts and Science Magnet was the school of my choice as I was intrigued by all they had to offer: Chorus, Dance, Orchestra and Piano Lab were the paths with which I participated. I spent time in each discipline to realize how much of each I would prefer to spend time learning. In orchestra, I played the cello. I grew quickly on the instrument which would later serve as my primary instrument in college. Piano was always a strong passion of mine thus I would play for hours when I was home. I even used to write short songs which to others sounded like jingles for commercials. Dance was a world all to itself for me. My first dance teacher was a man by the name of C. Michael Tidwell.
My journey in dance began while in the 9th grade and eventually becoming a member of his company at his studio [Centre for the DansArts].
While attending college, I majored in Music (receiving a B.A. in Music) and eventually became Minister of Music for the church I played for at that time. Post graduation efforts led me to continue my pursuits in dance; leading me to audition for and join Dallas Black Dance Theater’s 2nd company (DBDT II). This particular chapter helped to shape me as a concert dancer (one who is trained in Ballet, Modern and Jazz — constructed for the concert stage). I took as many classes as possible in as many genres available at the time and participated in several master classes and conferences such as the International Association of Blacks in Dance. I danced with DBDT II for six seasons when I was invited to help start a new dance company in the city of Atlanta. This company would later be known as Atlanta Dance Connection founded by Allyne D. Gartrell who was also the artistic director of DBDT II upon my second season with the company.
In 2016, I accepted a dance instructor position at Stephenson High School in Stone Mountain, GA. It has perhaps been one of the more pivotal experiences which has helped to shape me as an artist. I was terrified upon accepting the position as I have had teaching experience, but not as public school educator. To my delight, the work those students helped to accomplish is some of the most creative and faith-developing experiences. We would do thematic productions which aimed to tell a familiar story to the audience through dance. For instance, we did an ALL dance version of; The Wiz. From production details to choreography, we evolved together and the bonds I have created with my students makes me smile as we are still connected. They [my former students] continue to inspire me by going on to do exceptional things–I am very happy to say.
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey have been a fairly smooth road?
I would say each chapter and segment had its fair share of challenges–definitely. I feel some of the toughest challenges involved that of financial stability while in your developing process (or) transition. Sometimes the move for change comes when the person [myself] may not feel “prepared” for. However, I can say that it all worked out and believe that it will continue to do so as it is a matter of faith and time. When I moved to Dallas to pursue dance I did not have a job set-up and only had $94.00 in my bank account. Thinking back I do not know exactly how I was able to get through it in tact, but it was then that I took dance class after dance class. I was more concentrated on the things which satisfied me than any other thing. I even found another church to attend where I eventually kept my piano playing abilities sharp. In addition to playing piano for dance classes.
In a way very similar to my Dallas experience, I moved to Atlanta with perhaps a tad more preparation but hardly enough to feel “secure”. By this point, I knew that I could do what I eventually did in Dallas—work in Corporate America. It seemed to be a constant fall back for me as I worked in several mortgage-based positions. As for now, my aim, hope, and pursuit is to live fully as an artist and avoid a position which would have me feeling “stuck inside” or at a desk.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I would say I am most known for dance. It was truly one of the first interests of mine which became a passion! However, my answer being “dance” as to ‘what I am most known for’ causes me to consider the chapters by which I tend to view my life-in-the-arts timeline. To narrow it down, I feel I am (possibly equally) known for both piano and dance. From my time in orchestra to time playing the piano combined my high school and college chapters. Within that mix was always dance as the arts magnet program allowed for a schedule to explore multiple disciplines.
College chapters included primarily music as it was my chosen major (based on scholarship offers, lol). My college (University of Arkansas at Fayetteville) did not have dance as a major–neither were there many schools in my state at that time which had a dance program. So music became the gateway of exploration. The absence of dance in my life for each year in college caused the deep desire to pursue it upon graduating. After some time that was precisely what I did.
The next few chapters (my twenties and part of my thirties) were a nose-dive into the world of dance. I have met and performed choreography by some of dance’s giants! For that, I am deeply grateful. For years I would attend a conference (International Association of Blacks in Dance) which in my mind became a family reunion of sorts where you are up-close and in class with pioneers of dance. I eventually segued into teaching while still a dancer. My first official class was at a competition studio near Dallas which was a learning experience within itself–as the world of competition dance and concert dance has few similarities in approach to technique. In short, I did not have “tricks” in my choreography. I was assured by the studio owners that they were interested in what I had to offer; thus I never felt threatened.
What I was known for teaching in my earlier years is a genre called modern–specifically the technique of Lester Horton (the Horton Technique). His technique was widely used and made aesthetically recognizable by dance pioneer and highly esteemed choreographer/dancer–Alvin Ailey. Being a huge follower of the Alvin Ailey American Dance Theater and its rich history fed my appreciation for my training. My teachers were products of the company which fostered a feelin of being attached in some way. Eventually, the title of choreographer was something I grew to call myself and to be known as. Teaching would eventually help me carve out a path to explore many styles and merge them into one piece of work. Like those I have danced for…there is a need to push the envelope for yourself.
By the time I was teaching for high school (a chapter of my life which spanned three years) I was choreographing and teaching as many styles possible. There was always ballet, modern and jazz class, but with the assistance of talented guest teachers and choreographers, we were tackling other idioms such as West African and tap. In this chapter, I suppose I could say I was best known for putting on a great show and developing the student’s artistry. They truly came to LIFE on stage! The productions–no matter how silly it sounded for me to say what we planned to do–were a great success. It was then [teaching] that I called myself an artist. I felt that I had learned a new way of seeing. I became aware of a portion of my power (influence). I am most proud of the productions; however, my answer really is based on how I knew it shaped us. They were beyond motivated at times which makes me smile to think about. It was magic even though it came with hurdles and frustrations. It taught me an aspect of love.
My newest pursuit is in visual art. It is not as new to me as I make it sound; however, it was not until working a remote mortgage contract job that I started truly sitting and creating on paper. It is a newly (rediscovered) passion; ranging from painting, drawing, chalking, etc. I enjoy using any particular thing around to create. If it produces a color…I use it. I enjoy doing portraits (or) faces as I find them to be a challenge in making them appear life-like as much as possible. I feel it is an intuitive experience full of experimentation of all kinds and I have come to peace with it. Perhaps what has caused me to be slow in fully appreciating my own work and determining my worth is in believing the skill comes from school. It definitely does and can; however, there are two times I undoubtedly feel as though I am “going with the flow”–while doing art and teaching dance.
Alright, so to wrap up, is there anything else you’d like to share with us?
I am not sure that I have ever said that I have “retired” from dancing; however, when what you are focused on is teaching one can presume themselves complete. It felt natural in some sense to let it be their turn–so to speak. What I have now learned is that the body craves the movement dance provides always once it has learned what it feels like. While teaching, I am most times very physical and demanding of my own body and COVID-19 changed so much that I go harder now than back then.
At 41, I have entered a new chapter of love which helps me to eliminate fear to pursue various things. I enjoy jumping from one project to the next experience in a healthy way which fosters fulfillment. For the past month, I have been rehearsing with Ballethnic Dance Company (founded by Waverly Lucas and Nena Gilreath) for their signature production of “A Leopard Tale.” Ballethnic is one of the three professional black ballet companies in our nation. The production went very well and closed this past weekend. It was an excellent reminder of what my body has been trained to do even with presumed limitations. My truth is that some aspects of my body have changed in the years which formed the gap in my active dancing. However, with some devoted time diving back in all things are possible. Ballet class has been more of a pleasure in that maturity lessens the fear which can at times attach itself to a dancer’s psyche. Speaking for myself: dance is already a freeing experience and mindfully viewing and soaking up art only helps you have another interpretation. I am thankful for the experience and glad I did not allow self-made insecurities get in the way. Going with the flow feels better and I can honestly say it is now a preferred approach to it all (Dance, Music and Life).
Contact Info:
- Email: pksmith_25@yahoo.com
- Instagram: patrickkeithsmith
- Youtube: Patrick PK / Pique Smith
Image Credits
Jalen Smith (IG: _j.maurice_ / Renaissance Project) Shocorra Marcus (IG: Shocphoto / Website: Shocphoto.com)
