Even in “normal” circumstances, IBPOCs follow a largely Eurocentric calendar that primarily recognizes Eurocentric festivals and holidays. Because of how this calendar dictates time off, making the time to travel and train can be nearly impossible for dance artists who can only train in their home countries.
Posted January 26, 2021Punthambekar describes her experiences in Toronto dance communities and why she decided to leave.
Posted January 18, 2021Dr. Blessyl Buan created the BIPOC Dance Health Directory in order to address the lack of representation she saw in dance health.
Posted January 5, 2021Facing so much of the unknown, artists give their predictions for 2021
Posted December 18, 2020The entire poem from the Winter 2021 issue
Posted December 8, 2020Poetry by Kendra Guidolin. Find more of her work in our November/December 2020 issue.
Posted October 7, 2020Years of traumatic rhetoric around body image and perfection have dulled the pure joy of dancing that I felt in my creative movement classes as a kid. An invisible screen of anxiety has prevented me from making it into a studio consistently. While I’ve had the desire to go, getting there has been the problem, and I haven’t been able to fix it.
Posted August 31, 2020Emma Fitzgerald reflects on the life of her former dance teacher, the legendary choreographer and artistic director, Anna Wyman.
Posted August 26, 2020Friends and colleagues shared with The Dance Current memories of Wild.
Posted June 3, 2020Can digital innovation during COVID-19 be leveraged in a post-pandemic world to make dance careers more accessible?
Posted April 8, 2020Sima Chowdhury speaks about her journey to recovery through dance.
Posted April 7, 2020Kendra Guidolin shares a short fiction piece on the subject of body image.
Posted April 7, 2020Claudia Moore’s MOonhORsE Dance Theatre presented Older & Reckless #42 in November of 2019. Amy Hull responds to the six works presented by artists Bill Coleman, Barbara Kaneratonni Diabo, Christine Friday, Elizabeth Langley, JP Longboat, Byron Chief Moon, and Lee Maracle.
Posted March 30, 2020Louise Lecavalier shares a message for International Dance Day, via Regroupement québécois de la danse.
Posted April 29, 2019In The Right Eye of Clint, I see an architect – someone who muses over how designed space and humans converge.
Posted April 18, 2019If you listen to Peggy Baker describe her work move, she’ll tell you the piece is about the experience of giving and receiving care, of being tended to and tending to others.
Posted March 8, 2019The word ori is a Yoruba word meaning head and representing one’s life path, purpose, destiny and spiritual intuition. While Afro-Brazilian spiritual beliefs may seem miles away both physically and culturally from St. John’s, Newfoundland and Labrador, the recent production, titled Ori, brought the two together.
Posted January 2, 2019For Robert McQueen, one of the most important aspects of a musical is its use of composition; the role of music can make or break a production. “The music isn’t just providing a nice melody,” he states.
Posted September 18, 2018A student-choreographed routine included dancers wearing slave and master outfits and an attempted tribal dance in dashikis and coloured “Afro” wigs to disco movements. This was April 2018, and the performance held in Barrie, Ontario, sparked a controversial social media reaction on cultural ethics.
Posted September 4, 2018Fresh out of high school, two friends from “Cowtown” (Calgary, Alberta) upped sticks and made a bold move across the pond to London, England.
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