Today we’d like to introduce you to Amanda Ling.
Hi Amanda, can you start by introducing yourself? We’d love to learn more about how you got to where you are today.
I was born in Greenville, South Carolina, where I started dancing. I was fortunate to start dancing at a young age and to have sensed that dancing was the thing that I connected with the most. Junior year of high school, I started looking at colleges, and the owner of the performing arts studio I danced for was a dance major alum of Columbia College (CC). So, I visited the school, auditioned, and majored in dance there. My experience studying dance during undergrad at CC shaped a pathway for me to become the artist I am today. Dancers and choreographers surrounded me, and I soaked up so much knowledge during my time in school. I met Martha Brim in 2006 as one of my dance professors and mentors. I remember seeing a concert by her dance company, the Power Company, and I was so inspired! Back then, I never imagined that Martha and I would become the close friends and colleagues we are today or that I’d eventually be an Associate Director of the company- now called the Power Company Collaborative. My undergrad career also launched me toward getting my MFA in dance at Arizona State University. Moving to AZ from SC was a bit scary initially but an incredible and fulfilling experience. At ASU, I could see and work with some of the most innovative and renowned dance artists in the field. I studied dance film, performance, and visual art, which helped clarify my artistic intentions and dance aesthetic. After earning my MFA in dance in 2013, I moved back to SC and started interviewing for jobs. I was actually at Bonnaroo Music Festival that summer when I got the call from my alma mater Columbia College that they wanted to hire me as a visiting dance lecturer. So, I moved to Columbia, started dancing with the Power Company Collaborative, and spent several years teaching as an adjunct dance professor at Columbia College, Coker University, and Winthrop University. I traveled and taught across the state for about five years before I landed a full-time position at CC. I’m now an Assistant Dance Professor and the Dance Program Chair at the school where my artistic passion and knowledge of the vast world of dance began.
Let’s dig a little deeper into the story – has it been an easy path overall, and if not, what challenges have you had to overcome?
Being an artist and committing to a career in higher education has always had its ups and downs. My life and identity is rooted in teaching dance and being a professional dancer/choreographer. It’s not like working a typical 9-5 job where I go home and turn off my work brain because I’m still a dancer and artist when I’m out of the office. So, the largest struggle is setting firm personal and professional boundaries, so I only think about the dance program sometimes. I’m still trying to master this. I also became the Dance Program Chair during the year of the worldwide pandemic. So, that was a major bump in the road that no one was prepared for. Our country’s pandemic and social-political landscape have shifted how we think about and engage with the performing arts and higher education. I’m thankful that dance educators and artists across the state support one another. I am fortunate to have several seasoned dance artists in my network who are always willing to give advice and collaborate with me.
As you know, we’re big fans of you and your work. For our readers who might need to become more familiar, what can you tell them about what you do?
I am both a movement artist and a dance educator/administrator. As a movement artist, I specialize in contemporary dance, improvisational movement scores, site-specific dance, and public performance art installations. I enjoy working within interdisciplinary processes and with artists from various mediums. My movement research interweaves dance and ritual with imagery, improvisation, and experimental performance perspectives. My most recent choreographic processes investigate Southern Gothic aesthetics and narratives of the spirit realm and feminine energy. I’ve been excited with my current dance project, “Ghost: Conduit, Shadow, Ether,” which I presented at the Southeastern American College Dance Association conference and Piccolo Spoleto’s CURE8 Dance Series Charleston this year. As a dance educator and administrator, I see myself as an advocate for emerging artists. I teach courses in contemporary dance techniques, somatic practices, choreographic processes, dance history, and leadership skills. I feel gratified to be a core collaborator with the Power Company Collaborative. Some highlights have been working on our “Home Project” public art installation for the 2016 ArtFields festival in Lake City, SC, and collaborating on our “Singing Wall” installation for the 2019 Prague Quadrennial Formations exhibit in the Czech Republic.
Let’s end by discussing what matters most to you and why.
I stand by the Power Company Collaborative’s vision, firmly believing that power can be found in art, dancing, collaboration, and the spirit of each individual. I care about helping others access the power of creative expression and harness their unique abilities. I’m dedicated to helping create more equitable dance landscapes for artists in our community. I’m grateful for my husband, friends, and family, who all support my artwork and colleagues who care about the future of the arts in SC. I look forward to seeing more shifts in equity and inclusive practices in the dance field and beyond. And lastly, I plan to continue strengthening the Columbia College, SC dance program.
Contact Info:
- Website: https://www.columbiasc.edu/program/dance-education-dance-studies
- Instagram: @linglingdancethings, @pococollab, @ccdc_sc
- Other: https://www.thepowercompanycollaborative.org/
Image Credits
Lane Scott, Brailey Johnson, and Sarah Christine
