Kara Jenelle “KJ” Wade (Los Angeles, CA) is a choreographer, educator, and cultural leader who bridges art and administration in meaningful ways. As the founder of Delta Chi Xi Honorary Dance Fraternity, Inc., she created a national platform for collegiate dancers centered around academic excellence, artistic integrity, and service. What began as a student-led vision at UNC Greensboro has grown into a nationwide network supporting hundreds of emerging dance artists.

KJ is a current Creative Administration Research (CAR) program artist through NCCAkron (National Center for Choreography, Akron, OH). CAR supports U.S. dance artists in reimagining administrative structures by exploring new, sustainable models beyond traditional “best practices.” Through investigative retreats and peer collaboration, KJ is reflecting deeply on her choreographic journey while shaping innovative approaches to leadership in dance.

KJ was recently on the ground in Akron as she participated in 21st Century Dance Practices, a program of NCCAkron and The University of Akron School of Dance, Theatre, and Arts Administration (DTAA). KJ’s work continues to challenge and inspire, advocating for systems that nurture creativity, culture, and long-term artistic impact.

While in Akron, KJ was interviewed by University of Akron junior Noria Nuru.

NORIA: What led you to your current career path?

KJ: My career has always lived in dance in some capacity. I think there is a ministry for everybody. You have to find your ministry. For me, it was first just training, dancing, creating, and doing. As I gained those experiences, I came across more young artists and generations that I felt like I could serve.

I come from a line of educators. My mom is a professor at Elon University in early childhood education. My grandmothers, both, were educators. However, I had to choose it for myself. If it was dictated, I was like, “yeah, no, I don’t want to do that thing,” but I did always find myself in place of leadership early on or in the realm of mentorship or servitude in that capacity, because that is what I know. That’s what prompted me to start Delta Chi Xi.

NORIA: How was Delta Chi Xi Honorary Dance Fraternity, Inc. created, and what challenges did you face in establishing the organization?

KJ: It was three of us that started together: Jennifer Cheek, Kristina Rogers, and me. We put together a proposal to give to our department chair, Jan Van Dyke at the time, on the floor of my living room. When I was graduating, I absolutely did not want to start my own fraternity because—do you know how much work it is? It’s not easy to establish a board, figure out your mission, create a chapter, etc… The original proposal had to pass through our department chair at the time, Jan Van Dyke, our dean and so forth before it could be established on our campus. We started as an honor society on April 20th, 2010, with 13 members at the University of North Carolina Greensboro (UNCG).

NORIA: What purpose does the fraternity serve?

KJ: Though difficult to establish, Delta Chi Xi was necessary because it filled a void. When I reached out to every dance honor society that was, they either weren’t active or not specific for collegiate programs. We wanted to have a dance specific organization available to us to celebrate our academic achievements or accolades. Most of us had done things worthy of being acknowledged. We were working in companies with professors, doing study abroad, creating avenues and lanes for ourselves, being on the Dean’s List, graduating with our BFAs, etc…

NORIA: How has the fraternity evolved since its founding?

KJ: I first chartered the second chapter outside of UNCG at Morehead State University through Natasha L. Davis. My high school mentor—my first dance teacher. It went from just being a student organization on one campus to me going through the legalities of getting it trademarked, making sure the LLC was intact, making sure that the nonprofit status was valid for North Carolina and Kentucky insurance and so forth. We got incorporated as a fraternity instead of honor society because we fell under that category instead and launched October of 2011. From there, it flourished and nourished collegiate dance departments at University of Maryland, Coppin State University, Elon University, Northern Kentucky University, and University of Tampa.

The pandemic did a doozy on the membership and some of the practices, so we had to reel it back in. My goal is to relaunch in 2026. That is the goal. I am sharing that now.

NORIA: In addition to the work you are doing with Delta Chi Xi, you are also currently one of the selected artists for the NCCAkron (National Center for Choreography-Akron) Creative Administration Research (CAR) program this year. One of the goals of the program is to “think beyond the boundaries of known traditional models and best practices.” How do you feel you’ve done that in your time as a CAR Artist?

KJ: When I applied to CAR, I was living in Atlanta and working a full-time arts admin position at Georgia Tech. I was creating programs, arts and technology integration initiatives, developing a tech arts festival, etc… I was working for an institution that did not have arts present from a departmental standpoint, so I found myself in a place where I was constantly having to advocate for the arts.

Joining the CAR cohort was honestly a relief. It affirmed my instincts about the importance of equitable practices, securing contracts and funding, promoting community engagement, and advocating for professional development and opportunities for students. With that being said, it also gave me some grace and space as far as knowing how I can go about my own administrative practices.

NORIA: What personal progress or growth have you noticed because of your involvement with CAR?

KJ: CAR focuses on the process and not on the product or end result. I felt the space to be able to explore that and be at ease in knowing that there is no one way to go about doing a practice. I have also found grace in the ability to research how to go about my own journey in producing work, branding myself, marketing, and organizational structure.

The program has been monumental for the present version of me—standing back into the freelance world as an artist full-time and pursuing more educational opportunities. I am learning to be more sensible about what I need to prioritize to be able to pour back in, mentor, teach, and share in the capacity that I wish. I have a lot more clarity in my “why” and the steps to achieving it.

NORIA: What do you want to leave with the dance world?

KJ: I want people to know that they are completely able to unapologetically take up space. Take up space and create the opportunities that you want to achieve. Do not wait for permission. Do not wait for someone to give you a yes or to open the door. Most of the time you have to just put one foot in front of the other, and the opportunities arise as you are on the journey. There is no way, especially as an artist in the freelance world, to have everything mapped out step after step. There will always be curveballs. You must have faith in YOUR journey and be okay with the unknown. Unapologetically take up space, and what is meant for you won’t miss you. For more information, visit KJ Wade’s website or NCCAkron’s website.

Photos courtesy of NCCAkron.