THE JOFFREY BALLET
JOFFREY AT THE HARRIS: MATTERS OF THE HEART
November 6–9, 2025
Run Time: 2 hours, including intermission
Welcome Letter from Lori Dimun, Ashley Wheater MBE, and Greg Cameron
Program Notes + Choreographer Biographies
Lyrics + Translation for La Llorona
Harris Theater Mission Statement | Staff + Board | Our Supporters
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This program is generously sponsored by
WELCOME TO THE HARRIS THEATER
We are honored to welcome you to Matters of the Heart, a collaboration that reflects not only the artistry onstage, but also the shared vision and history between our organizations.
Long before the Harris Theater opened its doors, The Joffrey Ballet and our fellow founding resident companies helped shape and influence the design of this theater — from the stage itself to the technical systems and support services that make ambitious productions like this possible. Tonight feels like a full-circle moment: The Joffrey has appeared here over the years in festivals and shared celebrations, but this performance marks the company’s first full evening dedicated solely to its own work at the Harris. It is, in every sense, a homecoming.
That spirit of return is made even more meaningful by the voices of Chanel DaSilva and Annabelle Lopez Ochoa, two extraordinary choreographers whose artistry has already enriched the Joffrey repertoire and who now bring their bold visions back to the company for this occasion. Their presence deepens the significance of this collaboration and reminds us how artists and institutions grow together over time.
This engagement is an expression of true partnership. By sharing the risks and rewards of producing and presenting important new work, we ensure that our community has access to transformative performances that inspire, ignite, and endure. Thank you for being with us for this landmark evening. We celebrate this moment with you — our audience, our community, our friends — and we look forward to all that lies ahead for our organizations this season.
With gratitude,
Lori Dimun | Alexandra C. and John D. Nichols President + CEO, Joan W. and Irving B. Harris Theater for Music and Dance
Ashley Wheater MBE | The Mary B. Galvin Artistic Director, The Joffrey Ballet
Greg Cameron | President and CEO, The Joffrey Ballet
Program
Act I
Choreography: Annabelle Lopez Ochoa
Stager: Joshua Winzeler
Music: Peter Salem | Performed live by Chicago Philharmonic
Scenic and Costume Designs: Dieuweke van Reij
Lighting Design: Jim French
Dramaturg: Nancy Meckler
World Premiere: April 13, 2016, Sadler’s Wells Theatre, London
INTERMISSION
Act II
Choreography and Direction: Chanel DaSilva
Assistant to the Choreographer: Brett Perry
Music: The Main Squeeze
Scenic Design: Alexander V. Nichols
Costume Construction: The Joffrey Ballet Costume Shop
Lighting Design: Jim French
World Premiere: November 6, 2025, Harris Theater for Music and Dance, Chicago
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About The Joffrey Ballet
Classically trained to the highest standards, The Joffrey Ballet expresses an inclusive perspective on dance that reflects the diversity of America through its Company Artists, extensive repertoire, Academy, and Community Engagement programs.
Considered one of the premier companies performing today, the Joffrey plays a vital role in the dance community as one of the largest dance companies and dance education providers in Chicago and the greater Midwest region.
Casting
Thursday, November 6, 2025 / 7:30PM
Friday, November 7, 2025 / 7:30PM
Saturday, November 8, 2025 / 2:00PM
Saturday, November 8, 2025 / 7:30PM
Sunday, November 9, 2025 / 2:00PM
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Program Notes + Choreographer Biographies
BROKEN WINGS
Broken Wings
Choreography: Annabelle Lopez Ochoa
In this work originally commissioned by English National Ballet, choreographer Annabelle Lopez Ochoa celebrates prominent painter Frida Kahlo and offers a powerful portrayal of her legacy. The story features three human characters, with additional dancers symbolizing her strength and grounded nature. Drawing inspiration from Kahlo’s paintings, the ballet combines surrealist elements, vibrant and intricate costuming, and a score by Peter Salem with influences by Mexican folk music. Lopez Ochoa shared in an interview with San Francisco Ballet that she wanted a “moment where you see the painting move,” sparking her choice to cast nine male dancers to portray Kahlo’s self-portraits. The ballet highlights Kahlo’s transformation of personal pain into art, her unapologetic personality, and her deep connection to her Mexican roots, to express a powerful story of resilience and passion.
Annabelle Lopez Ochoa
The Belgian Colombian Annabelle Lopez Ochoa is a prolific, award-winning, and sought-after choreographer who has created more than 100 works for 81 dance companies around the world. A versatile choreographer, Lopez Ochoa creates regularly within the dance field but also for theater, opera, and musical theater. Her wide-ranging body of work includes short conceptual pieces, full-length narratives, and dance films. Lopez Ochoa completed her dance education at the Royal Ballet School of Antwerp. After a 12-year career in several European dance companies, such as Djazzex, and the Scapino Ballet where she danced as a soloist for seven years, Annabelle decided in 2003 to focus solely on choreography. That same year, she was hailed as the “rising star of the Dutch dance scene” (NRC), and only seven years later the Temecula Performing Arts Examiner wrote, “Ochoa is truly a masterful choreographer with an edge for what dance can and should be in this constantly changing industry.” She has been creating new works and new forms ever since and is also frequently invited to teach.
Annabelle is one of the world’s busiest choreographers (as suggested by Wendy Perron, Dance Magazine 2016). In 2006, she imagined a dance for the celebrated Dutch fashion designer Viktor & Rolf's project at the Van Gogh Museum in Amsterdam. Between 2005 and 2015, as a member of the dance-theater collective Fantasten, she created physical theater plays that have been performed in numerous theaters and festivals throughout the Netherlands. In 2016, the Jacob’s Pillow Summer School invited Lopez Ochoa to join the faculty as a guest contemporary choreographer, and classical ballet choreographer in 2018. In 2019, Lopez Ochoa was appointed as the program director of the Contemporary Ballet Summer Intensive of the School at Jacob’s Pillow. Annabelle was appointed artist in residence at Ballett Dortmund in Germany starting in the 2025–26 season. She will share the position with choreographer Edward Clug under the direction of ballet intendant Jaš Otrin.
During the height of the pandemic, Lopez Ochoa pioneered remote choreography and dance film creations premiered online. In total, she has created 22 dance films. Her online work has attracted significant attention — publications including Dance Magazine, Pointe Magazine, Backtrack, TV5 Monde, and Dance Gazette have interviewed Lopez Ochoa about her new dance films and the developing genre. In 2023, Lopez Ochoa’s notoriety led to her invitation as a judge on the TV show The Greatest Dancer of Vlaanderen. The show aired on Belgian National TV for nine episodes in February and March 2023.
WABASH & YOU
Wabash & You
Choreography and Direction: Chanel DaSilva
Wabash & You, set in downtown Chicago, is a modern twist on the classic girl-meets-boy love story and reminds us that love can find us anywhere at any time. But… does that mean that love will last forever? Wabash & You is a love letter both to the city of Chicago and to the hopeless romantics that live within us all. The music for this work will be performed live with the dynamic and soulful music of The Main Squeeze. The band will be onstage with the dancers, both playing the soundtrack for the piece and being a part of the experience.
Chanel DaSilva
A native of Brooklyn, New York, Chanel DaSilva is a multifaceted artist whose work reflects her deep connection to the transformative power of the arts. As an entrepreneur, choreographer, director, and ARTivist, she uses dance as a vehicle for social change and evolution toward a more diverse, just, and inclusive dance industry and society. DaSilva is the Co-Founder and CEO of Strategy & New Initiatives for MOVE|NYC| — an arts and social justice organization with the mission of creating greater equity and diversity in the dance profession and beyond. She is also a choreographer and director creating new, provocative works that reflect the complexities of what it means to be human. DaSilva is also the Founder & CEO of the women’s leadership and empowerment platform CATAPULT.
After being named a Presidential Scholar in the Arts and graduating with her BFA from The Juilliard School, DaSilva became a member of the highly celebrated Trey McIntyre Project (TMP), based in Boise, Idaho, where she was a muse for the creation of many of Mr. McIntyre’s works. She danced lead roles in his masterpieces Ma Maison, in collaboration with The Preservation Hall Jazz Band; The Sun Road, in collaboration with PBS’s Faces of America series; Gravity Heroes; and Mercury Half-Life. DaSilva was featured on the cover of Dance Magazine with TMP in 2011 and was a part of Brooklyn Academy of Music’s Dance Motion USA, touring throughout Asia with TMP as a cultural ambassador for the United States of America.
Upon returning to New York City, DaSilva became a member of the Lar Lubovitch Dance Company and performed iconic Lubovitch works such as Coltrane's Favorites, Transparent Things, and The Black Rose. Throughout her career, DaSilva has been blessed to dance and tour internationally across Europe, Asia, South America, the Caribbean, and the United States — living the life and career she dreamed of as a young girl. #DanceDidThat
In 2016, Chanel began her career as a choreographer and has since created choreographic works for institutions such as Gibney Company, The Joffrey Ballet, American Repertory Theater, The Juilliard School, Parsons Dance Company, Ballet Memphis, Dallas Black Dance Theater, The Washington Ballet, among others. Most recently, Chanel made her international choreographic debut with the premiere of a new work created for Ballet Black.
DaSilva is a widely sought-after educator, mentor, and consultant, having led master workshops and seminars across the nation for institutions such as The Juilliard School, SUNY Purchase Conservatory of Dance, Harvard University, New York University, LaGuardia High School for the Performing Arts, The Scottish Ballet, Ballet Hispanico, and New Orleans Ballet Association. Her work has been centered both on dance training and education, as well as professional development and career management for pre-professional dancers, and DEI strategies for arts leaders.
Over the years, DaSilva has received recognition from numerous institutions including The Joffrey Ballet Winning Works Choreographic Competition, the Martha Hill Dance Fund Mid-Career Award, a 2011 Princess Grace Award, and the 2008 Martha Hill Prize awarded by The Juilliard School. She is a National YoungArts Winner, was named a Presidential Scholar in the Arts, and was featured on the 2004 PBS Documentary American Talent. In 2019, DaSilva received an IRNE nomination for Best Choreography for The Black Clown which premiered at American Repertory Theater in Cambridge, Massachusetts.
DaSilva attributes her success and longevity in the dance field to the tribe of artists, educators, and mentors who opened the doors to the dance industry for her at an early age, including those at the Bernice Johnson Cultural Arts Center, Creative Outlet Dance Theater of Brooklyn, LaGuardia High School for the Performing Arts, The Ailey School, Springboard Danse Montreal, and The Juilliard School.
Lyrics + Translation for La Llorona
Performed by Denis Vélez
Todos me dicen el negro llorona, negro pero cariñoso (x2)
Yo soy como el chile verde llorona, picante pero sabroso (x2)
They all call me “the Black One,” Llorona, black, yet affectionate (x2)
I’m like green chili, Llorona, spicy, yet full of flavor (x2)
Ay de mi llorona, llorona, llorona llévame al río (x2)
Tapame con tu reboso llorona, porque me muero de frío (x2)
Woe is me, Llorona, take me down to the river (x2)
Wrap me in your shawl, Llorona, for I am freezing (x2)
No sé qué tienen las flores llorona, las flores del campo santo (x2)
Que cuando las mueve el viento llorona , parece que están llorando (x2)
I don’t know what it is about the flowers, Llorona, the flowers in the graveyard (x2)
That when the wind moves them, Llorona, they seem to be crying (x2)
Ay de mi llorona, llorona, llorona llévame al rio (x2)
Tapame con tu reboso llorona porque me muero de frío (x2)
Woe is me, Llorona, take me down to the river (x2)
Wrap me in your shawl, Llorona, for I am freezing (x2)
La luna es una mujer, llorona, y por eso el Sol de España (x2)
Anda que bebe los montes llorona, porque la luna lo engaña (x2)
The moon is a woman, Llorona, and that’s why the Sun of Spain (x2)
Wanders over the hills, Llorona, for the moon deceives him (x2)
Ay de mi llorona, llorona, llorona de un campo lirio (x2)
El que no sabe de amores llorona, no sabe lo que es martirio (x2)
Woe is me, Llorona, in a field of lilies (x2)
He who knows nothing of love knows not what torment is (x2)
Yo te soñaba dormida llorona, dormida te estabas quieta (x2)
Si porque te quiero, quieres, llorona, quieres que te quiera más
I dreamed of you asleep, Llorona, asleep, you lay so still (x2)
But as I drifted into oblivion, Llorona, I dreamed that you were awake (x2)
Si porque te quiero, quieres llorona, quieres que te quiera más
Because of I love you, Llorona, you want me to love you more,
Si ya te he dado la vida llorona
Qué más quieres? Quieres más!
If I have already given you my life, Llorona,
What more could you want, you want even more
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Denis Vélez
Denise Vélez, soprano from Puebla, México, recently graduated from the Ryan Opera Center, participated at the annual celebration of LuminArts Foundation, and made her debuts with “Orquesta filarmónica de Chihuahua,” “Orquesta Sinfónica de Mineria," and “Orquesta Sinfónica de las Artes” in México.
Vélez made her debut as Rosalba from Florencia en el Amazonas by Daniel Cantan with the Compañia Nacional de Ópera de Bellas Artes in México City in October 2023.
After she finished her contract with the Ryan Opera Center, Vélez was invited to sing La Catrina (as an understudy) from the opera El último sueño de Frida y Diego by Grabriela Lena with San Francisco Opera. She also made her debut with Wolftrap Opera as a Filene Artis by singing Zerlina from Don Giovanni.
At the Ryan Opera Center, Vélez was assigned to sing Thibault in Don Carlos; Sandman and Dew Fairy, and to understudy Gretel in Hansel and Gretel; Frasquita and Micaela in Carmen; Third apparition in Macbeth; Gianetta in The Elixir of Love; Papagena in The Magic Flute; First Lady as a cover in The Magic Flute; and Rosalba as a cover in Florencia en el Amazonas.
Vélez was winner of Female Voice Award in the March 2022 LuminArts Competition in Chicago and became a national winner of the prestigious Metropolitan Opera Laffont Competition in 2020. She was also invited by the United States embassy to perform the National anthems of the United States and Mexico in the virtual celebration of July 4, 2020.
Her performance earned her the First Prize, the French Opera Award and the Francisco Araiza Special Award at the National Singing Contest Carlo Morelli in Mexico in 2019.
About Chicago Philharmonic
The Chicago Philharmonic is re-imagining the orchestra concert experience through culturally diverse, genre-bending programs breaking barriers of exclusion in orchestral music. With nearly 200 musician members, diverse and trailblazing leadership, and a deeply collaborative artistic model, the Philharmonic is one of the most versatile, innovative, and ambitious orchestras in the country.
The Chicago Philharmonic presents 30+ concerts annually and year-round, featuring diverse musicians and drawing new-to-the-symphony audiences. 2025–26 partners include Artist in Residence Njioma Chinyere Grevious, Disney Concerts, Chicago composers Damien Geter and Stacy Garrop, Marta Aznavoorian, Sleeping At Last, Cedille Records, The Joffrey Ballet, The Auditorium, Harris Theater for Music and Dance, and Ravinia Festival.
The Chicago Philharmonic was created by Lyric Opera principal musicians in 1989 and is now a crucial part of Chicago’s music ecosystem, creating thousands of jobs for 400+ musicians annually for its 250,000 audience members. The orchestra proudly collaborates with the greatest artists of our time, in every genre, including Laufey, Nas, Tank and the Bangas, the American Ballet Theatre, Lady Gaga, and more.
About The Main Squeeze
Corey Frye, vocals
Maximillian Newman, guitar, background vocals
Robert Walker, bass, background vocals
Benjamin "Smiley" Silverstein, keys
Reuben Gingrich, drums
Lori Dimun
Alexandra C. and John D. Nichols President + CEO, Joan W. and Irving B. Harris Theater for Music and Dance
With a deep commitment to artistic excellence, collaboration, and civic impact, Lori Dimun serves as the Alexandra C. and John D. Nichols President and CEO of the Harris Theater for Music and Dance. Her work centers on advancing the Theater’s mission to connect Chicago’s diverse audiences with extraordinary artists from across the city and around the world.
Lori joined the Harris in 2011 as Director of Operations and Production and went on to serve as Chief Operating Officer and General Manager. She was appointed President and CEO in 2020, following the loss of former CEO and beloved friend, the late Patricia Barretto, whose brief but remarkable tenure left an indelible mark of joy, vision, and humanity on the organization. Lori carries Patricia’s legacy forward in all she does, honoring her vision through a continued commitment to collaboration, compassion, and excellence.
Under her leadership, the Harris Theater has deepened its commitment to access, equity, and artistic excellence, presenting landmark performances such as the Chicago premiere of Pina Bausch’s The Rite of Spring performed by École des Sables; the U.S. premiere of Akram Khan’s Giselle with English National Ballet; and the return of New York City Ballet to Chicago after nearly two decades. Most recently, she led the U.S. debut of Volcano’s reimagined production of Scott Joplin’s Treemonisha — A Musical Reimagining and produced Harris Fest: Music and Dance in the Park, a citywide celebration marking the Theater’s 20th anniversary in Millennium Park.
“What drew me to the Harris Theater,” Lori shares, “was the incredible diversity and breadth of artists who perform here and call the Theater home — from our extraordinary resident companies to world-renowned international artists. The opportunity to collaborate with them, to uplift their artistry, is an amazing gift — one I never take for granted.”
Prior to joining the Harris, Lori launched the events department at Steppenwolf Theatre Company and began her career teaching high school theater. She holds a BA in Theater and an M.Ed. in Secondary Education and Global Studies from Drury University, is a graduate of the University of Chicago’s Civic Leadership Academy, and completed Harvard Business School’s Strategic Perspectives in Nonprofit Management program.
Lori serves as Vice Chair of the Board of New Moms, is a Board Member at The Gift Theatre, and is active in the Economic Club of Chicago (Vice Chair, Membership Committee), The Arts Club of Chicago, International Association of Venue Managers (IAVM), United States Institute for Theatre Technology (USITT), and the Chicago Loop Alliance Arts Caucus steering committee.
Ashley Wheater MBE
The Mary B. Galvin Artistic Director, The Joffrey Ballet
Ashley Wheater has dedicated his life to dance. He was born in Scotland and trained at The Royal Ballet School in England. He worked with Frederick Ashton, Kenneth MacMillan, and Michael Somes in numerous ballets at Covent Garden, including Swan Lake, Sleeping Beauty, Giselle, Manon, Anastacia, and The Dream. Wheater danced with Rudolf Nureyev in Nureyev and Friends at the London Coliseum.
On Nureyev’s advice, Wheater joined the London Festival Ballet and danced in his Romeo and Juliet and Sleeping Beauty. He danced in Glen Tetley’s Sphinx and Greening and in Festival Ballet’s large repertoire of classics and new creations. Under the artistic direction of John Field, he was promoted to Principal Dancer at the age of 20.
In 1982, he joined the Australian Ballet where he continued dancing principal roles in both classical and contemporary work, especially in the John Cranko full-length ballets.
In 1985, at the invitation of Gerald Arpino, Wheater joined The Joffrey Ballet. For the next four years, he performed various works by American choreographers including William Forsythe, Gerald Arpino, Mark Morris, Paul Taylor, and Laura Dean, as well as repertoire by Ashton and Cranko.
Joining the San Francisco Ballet in 1989, he continued his creative career working under Helgi Tomasson, and with choreographers James Kudelka, David Bintley, and many more. In 1997, he retired from dancing and was appointed Ballet Master and, later, Assistant to the Artistic Director at the San Francisco Ballet.
Since his appointment in 2007 as artistic director of The Joffrey Ballet, his passion and commitment to the Joffrey have been evident in the quality that he has brought to the dancing and to the repertoire. He has invited world-renowned choreographers, as well as fresh young talent, to create new work for the company. Wheater has added new full-length works to the Joffrey’s repertoire, including Lar Lubovitch’s groundbreaking Othello, Ronald Hynd’s The Merry Widow, and Yuri Possokhov’s Don Quixote.
In 2008, Wheater was the recipient of the Boeing Game-Changer Award in recognition of his commitment to community engagement in Chicago and to the celebration of diversity through dance. He sits on the Advisory Board for Dance Magazine, serves as the Artistic Advisor for ChiArts, and is the Advisor to the Arts for the Lincoln Academy of Illinois. In 2010, Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois, and in 2013 the Chicago Tribune named him "Chicagoan of the Year". In 2015, Wheater received the University of Chicago Rosenberger Medal for Outstanding Achievement in the Creative and Performing Arts. In December 2019, he was appointed to be a Member of the Most Excellent Order of the British Empire (MBE) by Her Majesty Queen Elizabeth II.
Greg Cameron
President and CEO, The Joffrey Ballet
Driven by his lifelong love for the arts, for his hometown, and for connecting with people from every background, Greg Cameron leads The Joffrey Ballet as President & CEO, responsible for organization-wide administration and strategy. Under Greg’s partnership with The Mary B. Galvin Artistic Director Ashley Wheater MBE, the Joffrey has set new records at the box office and built the strongest financial foundation in its history.
His 2013 appointment was the culmination of three decades of work in arts administration and philanthropy. “I always loved art, but I wasn’t a great artist,” he says. “I could paint by numbers, or I could connect the dots. I realized early on I was a good dot connector. I could connect people to each other and help them get involved with the things they believe in.”
As a child in suburban Chicago, Greg ran a makeshift theater out of his garage and sold more mints than anyone else for his local YMCA. And as an adult, he turned those passions into a career raising funds for the cultural organizations he loves. At the Chicago Department of Cultural Affairs; the Art Institute of Chicago; the Museum of Contemporary Art, where he rose to the role of Deputy Director and Chief Development Officer; and WTTW/WFMT, where he served as COO, Greg dedicated himself to supporting art and artists and to creating meaningful experiences for others.
“The Joffrey brings it all together for me,” he says. “It’s about collaboration, partnership with the community, honoring and supporting artists, and telling stories that truly move people.”
Today, Greg leads the Joffrey’s efforts to support unforgettable productions and new commissions, reach out to organizations and communities across Chicago, and open up world-class ballet for audiences from all backgrounds. Throughout the span of his 40-year career as an arts administrator in Chicago, Greg has volunteered for a wide range of nonprofit organizations and civic committees. He currently serves on the Facing History and Ourselves Chicago Advisory Board and the State Street SSA Commission. Greg was recently honored by the Association of Fundraising Professionals Chicago Chapter with their Benjamin Franklin Award, in recognition of the significant achievements throughout his long career, serving as a role model for his profession.
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The Joffrey Ballet Leadership, Artistic, and Production Staff
Ashley Wheater, MBE The Mary B. Galvin Artistic Director
Greg Cameron, President and CEO
James D. McDonough, Board Chair
Robert Joffrey, Founder
Gerald Arpino, Founder
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Company Administrative and Production Staff
Cody Chen, General Manager
Catherine Eby, Company Manager
Amanda Heuermann, Stage Manager
Chris Maravich, Lighting Supervisor
Emmy Masteller, Artistic Administrator and Assistant to the Artistic Director
Sarah Riffle, Matters of the Heart Lighting Supervisor
Katherine Selig, Principal Stage Manager
Joshua Stenger, Artistic and Production Fellow
Shandee Vaughan, Production Manager
Scott Wolfson, Technical Supervisor
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Artistic and Music Staff
Nicolas Blanc, Rehearsal Director
Adam Blyde, Rehearsal Director
Jorge Ivars and Jared Wright, Company Pianists
Christine Rocas, Rehearsal Director
Scott Speck, Music Director and Principal Conductor
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A complete administrative staff listing for The Joffrey Ballet can be found here.
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Support the Harris Theater
With your generous contribution, you can play a key role in our mission to be Chicago's primary residence for music and dance, connecting diverse audiences with outstanding artists from across the city, the nation, and the world.
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Land Acknowledgement
The Harris Theater for Music and Dance resides on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac, and Fox have also called this area home. The region has long been a center for Indigenous people to gather, trade, and maintain kinship ties. Today, one of the largest urban American Indian communities in the United States resides in Chicago, and members of this community continue to contribute to the life and culture of this city.
To learn more about the practice of land acknowledgement and the importance of honoring native land, visit usdac.us. The Chicagoland region is home to over 65,000 American Indians and the country’s oldest urban-based Native membership community center, American Indian Center Chicago (AIC). Visit aicchicago.org to learn more about AIC’s mission to foster physical and spiritual health in the community, an active connection with traditional values and practices, stronger families with multigenerational bonds, and a rising generation of educated, articulate, and visionary youth.
Photo Credits: Harris Theater Exterior by Hedrich Blessing. Harris Theater Nevelson Reflection by Kyle Flubacker. Joffrey Company Artists Amanda Assucena, Xavier Nuñez, Anais Bueno, and Dylan Gutierrez by Todd Rosenberg. Annabelle Ochoa Lopez headshot by Joe Schultz. Chanel DaSilva headshot by Stephanie Diani. Chicago Philharmonic by Todd Rosenberg. Lori Dimun photo by Kyle Flubacker. Harris Theater donors by Kyle Flubacker.