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What I Saw and How I Felt

Aria Evans and Lilia Leon's Prevailing Voices By Grace Smith

Prevailing Voices features link, choreographed and performed by Evans, and Perdida, choreographed and performed by Leon and co-written with charles c. smith. The solos come together in a show about identity exploration and female self-empowerment.


Discovering That “Little Girl”

Claudia Chan Tak’s Bienvenue chez moi, petite Malgache-Chinoise By James Oscar

Our particular moment could perhaps be qualified as one of the strides of disjuncture and difference across the country, but perhaps most acutely in Montréal. Claudia Chan Tak’s new work Bienvenue chez moi, petite Malgache-Chinoise speaks to this disjuncture of identity politics.


Shadows, Portraiture, Mime and Velvet

Four works old and new at 3,2,1 Dance! By Lori Straus

3,2,1 Dance! is a contemporary dance performance of four pieces, with choreography by Robert Desrosiers, Robert Glumbek, Jasmyn Fyffe and Tedd Robinson.


Bgirls, Body Image and Being "Bossed Up"

that “F” word by SaMel Tanz By Aparita Bhandari

After SaMel Tanz won the a spot in last year’s Toronto Fringe Festival, which is programmed by a lottery system versus a juried selection, they started talking through ideas with other women dancers they have collaborated with in the past, Hart told me in a phone conversation several weeks before the show. Feminism – or the way many of the dancers were navigating their lives as women, dancers or not – was something they kept coming back to. The result was a show that featured moments in these young women’s lives told through movements from an assortment of dance forms – contemporary, hip hop, even a bit of Argentine tango.


New Year, New Awakening

Soulful Messiah’s fifteenth year By Collette Murray

Ballet Creole opens the holidays by intersecting the Toronto theatre community and the NextSteps contemporary dance series with its annual seasonal ritual – Soulful Messiah. The performance is Artistic Director and Founder Patrick Parson’s choreographic concept of navigating different emotional stages of life and spirituality and how one copes through its peaks and valleys.


Hauntings and Bleeding Hearts

Reflections on Kayoi Komachi/Komachi Visited and a crash course in Noh theatre By Heidi Specht

Kayoi Komachi/Komachi Visited is an ambitious new chamber opera that blends Japanese Noh theatre and western classical music. Produced by TomoeArts, the work is a collaboration between artists from Japan and Vancouver. The story combines two Noh plays about the renowned ninth-century Japanese poet Ono no Komachi, as well as five of her original poems.


Provocative Impressions

Skeels Danse’s Rose of Jericho By Philip Szporer

Philip Szporer offers this follow up to his review of Skeels Danse and Tentacle Tribe – “Sizing Up a Double Dose of Summer Dance.” At the time of publication the works were still in progress. This completed version, presented by Danse Danse, allows for view of the piece in its mature form.


Risqué Ballet, Risking Clarity

Alberta Ballet’s Dangerous Liaisons By Fawnda Mithrush

Mounted by Alberta Ballet in 2008, Dangerous Liaisons is an epistolary exchange of manipulation, betrayal, greed and threats of public shaming: the story is fraught with ugly intentions and lurid schemes, told mostly in letters between two ex-lovers attempting to humiliate each other.


On Double-Touch and Performing Objects

Deanna Peters’ META By Rachel Maddock

META showcases Deanna Peters’ unabashed personal style and, with collaborators Justine A. Chambers and Kim Sato, explores the complexity of the human body and its potential for connectivity within and without its physical limits. The work delves into its topic from two angles: exploring the human body first, then placing it in relationship to objects and other bodies.


A Cosmic Kind of Minimalism

Dreamwalker Dance Company’s Dual Light and a call to criticality By Molly Johnson

When introducing her new work, Andrea Nann is direct and affecting and serves to recast the stage as an “outer space” – a place between celestial bodies and also human ones. The work is part of DanceWorks 40th anniversary season.


How Can We Be Fine?

Festival Quartiers Danses’ quadruple bill By James Oscar

Festival Quartiers Danses offered works by Morgane Le Tiec, Anne-Flore de Rochambeau, Elizabeth Suich and Mélanie Demers. The evening’s performances might have asked, “How might one differently totter, differently walk or differently move beyond our present fragile contemporary lives?”


One Waltz, One Requiem

Belinda McGuire performs two new works By Colleen Snell

Waltz and Slaughterhouse/Requiem form a double bill of powerful and compelling solo work danced by Belinda McGuire. Both are world premieres, one constructed by Sylvain Émard and one by McGuire herself.


The Embodied Remnants of Relationships Past and Present

Saudade by Joshua Beamish and MOVETHECOMPANY By Brittany Duggan

Joshua Beamish’s Saudade, which was commissioned by Theater Freiburg in Germany, takes its name from a Portuguese word for having a deep incompleteness and recognizing that feeling as familiar. For the men performing, this idea comes across as a variety of relationship-based scenarios – romantic or not. The work depicts a range of relationships that we can relate to, those that are fleeting for us and others that have been lasting.


Sizing Up a Double Dose of Summer Dance

Skeels Danse and Tentacle Tribe in Saint-Sauveur By Philip Szporer

What does it mean to (p)review evolving choreography? Philip Szporer reflects on two works-in-progress from the Festival des Arts de Saint-Saveur.

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