As part of this month’s Toronto Dance Theatre Digital Residency, we’re profiling prominent artists associated with Toronto’s contemporary dance scene. See all of the profiles here.
Name your favourite recent dance production.
Just experiencing Aisha Sasha John do anything on stage: singing, crying, explaining, sitting, crawling. It’s a medicinal slap into the moment, it stings as it soothes.
What’s one dish or drink from a Toronto restaurant that you cannot do without?
I don’t cook so I’d likely perish without Ali Baba’s. But also a pint, or a soup, or a sandwich or a cheesecake at Wallflower.
Where is your favourite place to go out dancing in the city?
I’m part of a party-throwing crew that goes by New Nails. It’s nomadic, neon and nourishing and queer as heck. Keep your ears peeled for our next doozy.
How do you feel contemporary dance in Toronto is changing?
The Love-In, Flowchart, New Blue, all the amazing dedicated young people making space for other amazing dedicated young people. And more spontaneous organizing that happens at parties, in bars, in parks. All increasingly vital!
Is there a choreographer that you find especially inspiring right now?
Julia Male always takes me far away and deep inside. Her presence can simultaneously welcome, unsettle and pervert a room sideways and you’re left wondering why your watch is running backwards. Then you look up and she’s gone.
What drew you to The Glass Fields Project?
Ann Southam was queer, feminist and cared deeply about new music in this country, especially young people’s place in it. To encounter her scores in collaboration with the mind-blowing Taktus ensemble is an opportunity I’ll always cherish.
What’s it like to collaborate with Toronto Dance Theatre?
So much gets done in this building in a day! I’m in constant awe at the level of self-discipline, curiosity and improvisation. And loving teamwork.
Visit the NOW Digital Residency: Toronto Dance Theatre
