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Loud and Brave

Alyssa Martin’s company, Rock Bottom Movement, won two Dora Mavor Moore Awards this year, but she now realizes that they may not be as transformational as she once thought. By Tessa Perkins Deneault

Rock Bottom Movement’s Alyssa Martin reflects on her art and her career in the light of Rock Bottom’s recent double Dora Mavor Moore Award win.

 

All That We Are

Artists respond to the statement “ I don’t see colour ” By Ravyn Ariah Wngz

Ravyn Ariah Wngz asks Black Canadian artists to respond to the harmful statement “I don’t see colour”.

Photo courtesy of Pixabay
 

Down the TikTok Rabbit Hole

TikTok offers people a way to move while isolated during COVID-19, but the popular app also comes with concerns By Emily Latimer

As a platform, TikTok is home to viral dances that are available to all users. The accessibility and sense of accomplishment from mastering the moves have people flocking to the app. But while there’s joy to be found, especially during COVID-19, there are also problems lurking beneath the surface.

 

Talking about Whacking/Waacking with Ashley “Colours” Perez

By Emma Doran

Ashley Perez speaks on the origins of Whacking/Waacking

 

Dance Interventions

Talking with two teachers who work with Parkinson’s patients By Tessa Perkins Deneault

Tessa Perkins Deneault speaks with Megan Walker Straight and Trina Frometa, two Dance for Parkinson’s Disease (Dance for PD) instructors, about the power of dance in alleviating symptoms, inspiring joy and providing hope.

 

Do You Call Yourself a "Dancer"?

Artists from across the country share whether they call themselves dancers

For many performers and movers, calling themselves dancers is a personal decision based on disciplinary, financial and emotional factors. The Dance Current asked artists from across the country why or why not they relate the title.

Performers in Tableau D’Hôte Theatre’s Blackout, choreography by Rodney Diverlus, set by Sophie El-Assad, costumes by Noémi Poulin, lighting by Audrey-Anne Bouchard, projections by Jaclyn Turner / Photo by Jaclyn Turner
 

Political Bodies

Dance and/as Protest By Elan Marchinko, Rodney Diverlus

Public protest on the land now called Canada often disrupts the rhythms of everyday life. Dance, when used in and as protest, entails the work of remembrance and caring for difficult histories, memories and stories. Elan Marchinko explores four performative works that engage in protest: The Holomodor Project, Meridian, Bearing and Blackout. Included are Rodney Diverlus’s choreographer’s notes.

City Dance Corps senior hip hop students / Photo courtesy of Desjardins
 

All that Glitters...

How do studios decide to compete? By Grace Wells-Smith

Dance competitions in Canada are becoming more and more popular, but what values are associated with this world? Grace Wells-Smith sat down with Jennalee Desjardins and Sean Boutilier, who initially appear to be on opposing sides of this debate.

 

Fearless Physicality

Athleticism in Toronto’s professional wrestling scene By Deanne Kearney

Professional wrestlers are athletes, performers, actors, dancers, gymnasts and comedians, and their sport has more in common with a ballet than with an episode of reality TV. Take a deeper look at the astonishing athleticism and theatricality within the world of pro wrestling.

 

Myth-Busting

The Dance Current asked artists to share the misconceptions and assumptions surrounding the style(s) and genre(s) they work in and what they wish people knew about their practice.

 

Beginnings are Everywhere

Reflections on the Coastal First Nations Dance Festival By Jane Gabriels

Join Jane Gabriels on her journey to the 2018 Coastal First Nations Dance Festival (CFNDF). Responding to the experience from a place of accompaniment, Gabriels pivots from viewer to witness.

William Yong in his own work Steer, with visual design by Jerome Delapierre / Photo by David Hou
 

Collective Copyright

Navigating authorship within contemporary dance By Lee Slinger

As dance artists navigate projects and performances, they encounter differing ideas of authorship. The evolving relationship between artists and digital media sharing have also shaped how these concepts are understood. Slinger spoke with several contemporary dance artists about their understandings of ownership, authorship and the role of intellectual property in their art-making processes. Slinger also weighs in with Carys Craig, a scholar of intellectual property, who argues that the legal system imposes binaries, such as choreographer/performer or work/performance, on creative work that do not speak to how dance is created, performed and shared.

 

Caribana is Our Stage

Embodying tradition, ritual and art in Canadian Carnival By Kevin A. Ormsby

Themes of becoming, shaping from and returning to are central to Caribbean performance arts. As one of these art forms, Carnival is a nuanced performance art practice rooted in the cultural memory of the lives of Caribbean peoples throughout Canada and the diaspora. But whose story is told (or not told) and in what context? The telling or omission of stories can be traced to a lack of understanding of the complexity of the Caribbean and its Carnival – a performance tradition that is more than the mass commodification, sexuality and “loud music” we often associate it with.

 

Where Are All the Women?

In an industry where women outnumber men, ballet still has a long way to go to achieve gender equality By Tessa Perkins Deneault

In an industry where women outnumber men, ballet still has a long way to go to achieve gender equality. Take a look into the state of gender parity and representation in Canadian ballet.

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