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Festival Series:

Curator’s Note: Yvonne Ng | 黄碧琬

At first glance, these three works might seem far apart—different aesthetics, different processes—but they share something essential: a deep interest in how we communicate through the body, especially when words fall short.
I was drawn to them because each piece, in its own way, reaches for connection—sometimes clearly, sometimes messily. Whether through form, improvisation, or gesture, there’s a push to say something real. They each hold tension: between tradition and change, between control and release, between what’s passed down and what’s made new in the moment.

These works ask for presence. They reward attention. There’s vulnerability in them, and also a kind of quiet insistence—that movement can carry memory, emotion, care, even protest. What comes through here is a shared urgency: a desire to communicate across distance, across time, across difference.

These works are conversations. They don’t offer easy answers—but they do offer space to feel, to reflect, and to witness. They remind me that dance, at its core, is a way of staying connected—to ourselves, to others, to something bigger.

They speak—sometimes softly, sometimes sharply—but always through the body. And that feels like something we need right now.

Schedule

Aug 21 2025

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Aug 23 2025

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    + post-show chat

Aug 24 2025

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Join us for a post-show chat

Fri Aug 23, 5:00 pm
Moderated by Louis Laberge-Côté

Louis Laberge-Côté

Louis Laberge-Côté (he/him) is an Associate Professor at the School of Performance at Toronto Metropolitan University. He is also an active dancer, choreographer, teacher, and rehearsal director based in Toronto. Over his career, he has performed with more than thirty companies on both national and international stages and has created over ninety choreographic works. A triple nominee for the KM Hunter Award, his achievements include receiving a Dora Mavor Moore Award for Outstanding Choreography, along with twelve additional nominations for Performance or Choreography, both individually and as part of an ensemble. He has served as Chair of the Canadian Alliance of Dance Artists – Ontario Chapter (2005-2007), Vice-President of the Canadian Dance Assembly (2013-2017), Chair of the Dance Committee at the Toronto Arts Council (2013-2018), and President of Healthy Dancer Canada (2023 & 2024). Laberge-Côté holds an MFA in Creative Practice from the University of Plymouth (UK) and Transart University (USA). He remains a sought-after interpreter and investigator of new dance creations.

BESIDE (an excerpt)

Montréal, Québec  |  MARIBÉ – SORS DE CE CORPS and Montréal Danse.

Three performers stand on a dark theatre stage wearing large headphones with antennas. The person on the left wears a light blue blazer and a red shirt, the person in the middle wears a light pink blazer and jeans, and the person on the right wears a dark blazer and teal shirt. A black desk with a radio and two chairs is positioned behind them. The scene appears to be part of a stage performance or play.
Three performers stand on a dark theatre stage wearing large headphones with antennas. The person on the left wears a light blue blazer and a red shirt, the person in the middle wears a light pink blazer and jeans, and the person on the right wears a dark blazer and teal shirt. A black desk with a radio and two chairs is positioned behind them. The scene appears to be part of a stage performance or play.

Photo by Etienne Boisvert

Three performers sit in conversation on a dark theatre stage, all wearing large headphones with antennas. The person on the left gestures expressively, wearing a black blazer and teal shirt. The person in the middle, wearing a light pink blazer and jeans, responds animatedly. The person on the right, in a light blue blazer, sits behind a table and points while speaking. A small radio sits on the table beside them, suggesting a scripted or improvised performance.

Photo by Laurent Philippe

Three performers stand on a dark theatre stage wearing large headphones with antennas. The person on the left wears a light blue blazer and a red shirt, the person in the middle wears a light pink blazer and jeans, and the person on the right wears a dark blazer and teal shirt. A black desk with a radio and two chairs is positioned behind them. The scene appears to be part of a stage performance or play.
Three performers stand on a dark theatre stage wearing large headphones with antennas. The person on the left wears a light blue blazer and a red shirt, the person in the middle wears a light pink blazer and jeans, and the person on the right wears a dark blazer and teal shirt. A black desk with a radio and two chairs is positioned behind them. The scene appears to be part of a stage performance or play.

Photo by Etienne Boisvert

Three performers sit in conversation on a dark theatre stage, all wearing large headphones with antennas. The person on the left gestures expressively, wearing a black blazer and teal shirt. The person in the middle, wearing a light pink blazer and jeans, responds animatedly. The person on the right, in a light blue blazer, sits behind a table and points while speaking. A small radio sits on the table beside them, suggesting a scripted or improvised performance.

Photo by Laurent Philippe

Toronto Premiere

Portrait of a woman with wavy brown hair and blue eyes, wearing a bright blue top. She is looking slightly to the left with a neutral expression. The background is plain and light-coloured, creating a soft contrast with her hair and clothing.
Photo by Jean-François Brière

Marie Béland

Equipped with headphones, the three performers are the only ones hearing the retransmission of the radio stations in the city where the piece is presented. In order to communicate with the public and each other, Rachel Harris, Sylvain Lafortune and Bernard Martin can only repeat the information in their headphones or reproduce a gestual score based from typical TV public affairs shows. Dispossessed of their bodies and their words, they try to live side by side (“beside”) and build the credibility necessary to transmit a little truth where everything is false. If each performance is unique as it relies on live radio, the result is always the same: the media little by little pushes the performers into a void. It remains to be seen whether the public will be able to extricate themselves from it.

BESIDE is a coproduction & artistic partnership between MARIBÉ – SORS DE CE CORPS and Montréal Danse.

“…an amusing lost-in-translation battle between man and machine, where the art of listening, understanding and processing information becomes a compulsion.”
– Platform Magazine, UK

A creation by Marie Béland

A coproduction and artistic partnership between MARIBÉ – SORS DE CE CORPS and Montréal Danse

Performers and Collaborators: Rachel Harris, Sylvain Lafortune, Bernard Martin

Dramaturge: Kathy Casey

Lighting Designer: Karine Gauthier

Costume Designer: Dave St-Pierre

Premiere: March 26, 2019 at Théâtre Panopée in Vanves (France) as part of the Biennale de danse du Val-de-Marne, co-presented by Festival Artdanthé

Creation residencies: Cardiff Dance Festival – Dance4 International Center for Choreography, Nottingham – La Rotonde de Québec – La Corporation Hector-Charland – Théâtre du Vieux-Terrebonne

Marie Béland, Choreographer

For 22 years, Marie Béland has distinguished herself through works that have been presented in theaters, festivals, private and public spaces across Quebec, Canada, Europe, and Africa. Drawing from our various uses of the body, she gathers everyday gestures and makes visible their inner complexity. The stage acts as a revealer of the blurred boundaries of fiction, intertwining truth, falsehood, and verisimilitude. Her creations approach live performance as both a social and aesthetic phenomenon, an opportunity to explore the transformations that our ordinary bodies undergo in contact with the stage.

Kathy Casey, Dramaturge

Artistic Director of Montréal Danse since 1996, Kathy Casey works as a dramaturge with choreographers who are rethinking, redefining and reworking what is dance. Through a process of deep questioning of performance and the body, she encourages bold ideas and discovering ways to express them and give them form. She also organizes and facilitates an annual choreographic research workshop, runs research labs and facilitates or co-facilitates dance and interdisciplinary dramaturgy workshops. In addition to her responsibilities with Montréal Danse, Kathy Casey works as an artistic advisor for several independent choreographers in Montreal.

Rachel Harris, Performer

Originally from British Columbia, Rachel Harris moved to Montreal in 1990 to continue her contemporary dance training at LADMMI (now L’École de Danse Contemporaine de Montréal). Since 1993, she has collaborated with over thirty choreographers in more than forty works, within in a wide variety of choreographic styles. These creations have taken her on tour and in artistic collaborations around the world. Recently, Rachel has participated in works by Benoît Lachambre, Aurélie Pedron, Marie Béland, Thea Patterson, Amy-Claire Huestis, Caroline Laurin-Beaucage, Sybille Müller, and Andrew Turner. Since 2010, Rachel also leads movement workshops in women’s shelters with the organization Dance Against Violence.

Sylvain Lafortune, Performer

Since 1979, Sylvain Lafortune has performed all over the world with renowned companies such as Les Grands Ballets Canadiens, Lar Lubovitch Dance Co., O’Vertigo Danse. More recently, he appeared in projects of Montréal Danse, Estelle Clareton and PPS Danse. Since 1998, he teaches in various dance and circus professional training program. In 2018, he co-created L’un l’autre (One Another), a duet that expresses his sensitivity and skill as a partner. His extensive dance and teaching experience, his doctorate degree and the recent publication of “L’art et la technique du travail de partenaire” (2020), make him an authority on dance partnering.

Bernard Martin, Performer

Bernard Martin is a dance performer and teacher. He started his professional career in 1991. He has been working ever since with numerous companies and a wide array of choreographers: Les Grands Ballets Canadiens (James Kudelka, Nacho Duato, Ohad Naharin, Jiry Kilian, Mark Morris, Georges Balanchine and more), Montréal Danse (José Navas, Paula de Vasconcelos, Marie Béland and more), La Fondation Jean-Pierre Perreault, Système D/Dominique Porte, La La La Human Steps (Édouard Lock), Le Carré des Lombes (Danièle Desnoyers), Louise Bédard Danse, Susanna Hood as well as Dave St-Pierre.Since 2009, Bernard Martin has been teaching ballet and performance at l’École de danse contemporaine de Montréal.

Aakarsh

Toronto, Ontario  |  Tanveer Alam

A dancer sits cross-legged on stage, dressed in a traditional cream and gold costume with ornate jewellery and ankle bells. With focused expression, they hold their hands in front of their face in a precise mudra (gesture), suggesting classical South Asian dance. The stage is dark, with warm lighting highlighting the performer.
A dancer sits cross-legged on stage, dressed in a traditional cream and gold costume with ornate jewellery and ankle bells. With focused expression, they hold their hands in front of their face in a precise mudra (gesture), suggesting classical South Asian dance. The stage is dark, with warm lighting highlighting the performer.

Photo by Kendra Epik

A dancer in a traditional cream-coloured costume with gold accents stands on a darkened stage. With one arm lifted high and the other extended behind, they gaze upward in a powerful pose, illuminated by dramatic stage lighting that enhances the elegance and grace of the movement.

Photo by Kendra Epik

Seated on the floor, the dancer arches their back and stretches one arm upward in a fluid motion. Wearing a golden costume and ghungroos (ankle bells), they perform a classical South Asian dance on a dark stage, with expressive posture and serene facial expression.

Photo by Kendra Epik

Photo by Kendra Epik

A dancer sits cross-legged on stage, dressed in a traditional cream and gold costume with ornate jewellery and ankle bells. With focused expression, they hold their hands in front of their face in a precise mudra (gesture), suggesting classical South Asian dance. The stage is dark, with warm lighting highlighting the performer.
A dancer sits cross-legged on stage, dressed in a traditional cream and gold costume with ornate jewellery and ankle bells. With focused expression, they hold their hands in front of their face in a precise mudra (gesture), suggesting classical South Asian dance. The stage is dark, with warm lighting highlighting the performer.

Photo by Kendra Epik

A dancer in a traditional cream-coloured costume with gold accents stands on a darkened stage. With one arm lifted high and the other extended behind, they gaze upward in a powerful pose, illuminated by dramatic stage lighting that enhances the elegance and grace of the movement.

Photo by Kendra Epik

Seated on the floor, the dancer arches their back and stretches one arm upward in a fluid motion. Wearing a golden costume and ghungroos (ankle bells), they perform a classical South Asian dance on a dark stage, with expressive posture and serene facial expression.

Photo by Kendra Epik

Photo by Kendra Epik

World Premiere

Portrait of a smiling man with short, wavy dark hair and a trimmed beard, standing in front of a wooden panel wall. He is wearing a patterned brown kurta-style shirt and looking directly at the camera in soft, natural lighting.
Photo by Shannon Widdis

Tanveer Alam

Aakarsh, translating to “magnetism” or “attraction” in Urdu, intertwines the elements of Nritta (technical dance) and Abhinaya (expressional dancing) in a classical Kathak performance. Following the traditional Hindustani classical music structure of Taal Bandish, this piece intricately weaves Kathak compositions with sung poetic verses. The dancer transitions between the dynamic technical sequences to subtle expressional moments. The poetic composition explores the profound emotions evoked by the first encounter with a lover’s gaze, delicately capturing the sentiments stirred from this experience.

Choreographer and Performer: Tanveer Alam

Music composition: Kishan Patel

Live Musicians: Ramona Sylvan, Sukriti Sharma, Daksh Raj, Gandhaar Amin

Tanveer Alam, Choreographer/Performer

Toronto-based Tanveer Alam, trained in Kathak under Sudeshna Maulik and Sandhya Desai and holds a western contemporary dance degree from Dance Arts Institute. He has performed in works by Lata Pada, Padmini Chettur, Harikishan S. Nair, Brandy Leary and others. As an emerging choreographer, he has presented work at SummerWorks Festival, Battery Dance Festival +, and CanAsian Dance Festival. His curatorial contributions include programming with Dancemakers, TOES FOR DANCE, and CanAsian Dance. In the 24/25 season, Alam performed solos at Vilaya Festival, New York Kathak Festival, and Navatman Black Box Baithak. He choreographed for Sampradaya Dance Creation’s Salaam Rahman and premiered Ibaadat, a collaborative work with Barkha Patel, at the Nita Mukesh Ambani Cultural Centre in Mumbai.

Ramona Sylvan, Musician

Ramona Sylvan has been studying tabla for 25 years underthe guidance of Ustad Mohan Singh Dahaley and nowcontinues her training with Ustad Sattar Tari Khan. Hermusical roots lie in the Punjab Gharana, with a lineage tracingback to her Parama-Guru Ustad Mian Qadir Baksh.Ramona’s exposure to various Gharanas, including Delhi andBenares, has shaped her versatile style. She has performedsolo and accompanied artists on vocals, flute, sitar, andsarangi. Guided by her Guru’s blessings, she continues toshare her passion for tabla through her performances.

Sukriti Sharma, Musician

Sukriti Sharma began her Kathak training under Guru Sh. Ashok Chakraborty and further developed her skills under Sangeet Natak Academy awardee Guru Sh. Krishan Mohan Mishra. Shecompleted a rigorous Post Diploma program at Kathak Kendra in New Delhi and holds a degreefrom Indira Kala Sangeet Vishwavidyalaya, Khairagarh. As a graded artist with Delhi Doordarshan, Sukriti has several years of teaching experience in both India and Canada. She has performed at prestigious festivals, including Kathak Mahotsava, Khajuraho Festival, and Vasantotsava, showcasing her talent alongside renowned artists. Sukriti has been an integral part of Padmashree Smt. Shovana Narayan’s repertoire ‘ASAVARI’ and has contributed to various productions led by esteemed gurus. Her notable achievements include participating in the Choreographic Mentorship Program by Sampradaya Dance Creations, presenting her solo debut in the festival”Momentum,” and touring India with the production ‘Mandala.’ Most recently, she contributed tothe creative project ‘Muhandis’ by Tanveer Alam.

Daksh Raj, Musician

Daksh Raj is a President’s Award-winning classical and ghazal vocalist, singer-songwriter, and composer. Based in Canada, he studied jazz music at Humber College and has worked on Broadway productions, musical dramas, dance dramas, and Kathak dance recitals. With a deep love for poetry and ghazals, Daksh has launched several artistic projects. He co-founded “Sak- sham Daksh”, a duo dedicated to promoting ghazal and classical music. Their original composi- tion, “Raagmala Samaychakra”, won the Indian Independent Music Award in 2023. He is also a founding member of the “Kalakaar Collective”, an artist-driven group that blends Indian classical music with Bollywood jazz, qawwali, and ghazals.

Kishan Patel, Composer

Kishan was born and raised in Portland, OR. He has been learning music since he was 6 years old. He received his initial training under Portland’s Dr. Nisha Joshi, who trained him in not just Hindustani Vocal and Bhajans, but also taught him to play Tabla, Harmonium, and Sitar as well. After studying with Dr. Nisha Joshi for about 12 years, he began studying under the tutelage of his current guru, Shri Arijit Mahalanabis. Under Arijitji’s guidance, Kishan has also been groomed as an accomplished accompanist on Tabla and Harmonium, Santiniketan Esraj, and has began producing compositions for both music and dance. He has had the fortune of accompanying some of India’s finest musicians including Smt. Aditi Kaikini Upadhya, Sandipan Samajpati, Mitali Banerjee Bhaumik, Samir Chatterjee, Satish Vyas, Arnab Chakrabarty, Ruchira Panda, Ranjani Ramachandran, and many others.

Gandhaar Amin, Musician

Gandhaar started learning Indian classical music from his father, Nitin Amin, at the age of 4. He started touring with his father at the age of 8, and began his journey as a solo performer at the age of 12. Those early years spent immersed into the world of Indian classical music helped him create a strong melodic base to launch his musical exploration. It was in college that Gandhaar started exploring other forms of music from around the world. He spent a few years playing in bands and recording for producers from around India, and eventually found his unique sound, combining traditional Indian melodic composition with modern electronic music production. Gandhaar has since released multiple albums and singles, while also producing music for other indie artists. He has also been composing background scores and songs for TV and films for over a decade. He was notably a collaborator and co-composer on the debut music album by His Holiness The Dalai Lama, titled Inner World. Gandhaar performs this unique and fresh music as a solo performer, or with a band. He has played at festivals and private events across India, and has recently moved to Toronto, Canada, looking to cater to the diverse tastes of western, urban audiences.

Dead Weighting

Vancouver, British Columbia  |  Peter Bingham / EDAM Company

Two barefoot dancers are captured mid-leap in front of a plain beige wall. One wears a loose turquoise shirt and taupe pants, the other wears a black tank top and green pants. Their bodies are airborne, twisting with outstretched arms, suggesting motion and intensity in a contemporary dance performance.
Two barefoot dancers are captured mid-leap in front of a plain beige wall. One wears a loose turquoise shirt and taupe pants, the other wears a black tank top and green pants. Their bodies are airborne, twisting with outstretched arms, suggesting motion and intensity in a contemporary dance performance.

Photographer: Chris Randle; Dancers: Antonio Somera and Olivia Shaffer

Two dancers stand closely together under soft lighting. A woman in a light sleeveless top rests her head gently on the shoulder of a man in a black sleeveless shirt. Their heads lean toward each other, eyes cast downward, creating a quiet and introspective mood.

Photographer: Chris Randle; Dancers: Francesca Frewer and Arash Khakpour

A close-up shot of two dancers’ intertwined arms and hands. The lighting highlights the soft, intentional contact between their limbs. One dancer wears black, the other has a bare arm, and the framing emphasizes the fluidity and sensitivity of the movement.

Photographer: Chris Randle; Dancers: Arash Khakpour, Antonio Somera, and Anne Cooper

A barefoot dancer in grey pants and a sleeveless black top lifts another dancer upside down. The lifted dancer is curved backward in mid-air, arms extended expressively toward the floor. The scene takes place in a bright studio with light wood flooring and white walls, showcasing balance, strength, and trust.

Photographer: Chris Randle; Dancers: Arash Khakpour and Antonio Somera

Two barefoot dancers are captured mid-leap in front of a plain beige wall. One wears a loose turquoise shirt and taupe pants, the other wears a black tank top and green pants. Their bodies are airborne, twisting with outstretched arms, suggesting motion and intensity in a contemporary dance performance.
Two barefoot dancers are captured mid-leap in front of a plain beige wall. One wears a loose turquoise shirt and taupe pants, the other wears a black tank top and green pants. Their bodies are airborne, twisting with outstretched arms, suggesting motion and intensity in a contemporary dance performance.

Photographer: Chris Randle; Dancers: Antonio Somera and Olivia Shaffer

Two dancers stand closely together under soft lighting. A woman in a light sleeveless top rests her head gently on the shoulder of a man in a black sleeveless shirt. Their heads lean toward each other, eyes cast downward, creating a quiet and introspective mood.

Photographer: Chris Randle; Dancers: Francesca Frewer and Arash Khakpour

A close-up shot of two dancers’ intertwined arms and hands. The lighting highlights the soft, intentional contact between their limbs. One dancer wears black, the other has a bare arm, and the framing emphasizes the fluidity and sensitivity of the movement.

Photographer: Chris Randle; Dancers: Arash Khakpour, Antonio Somera, and Anne Cooper

A barefoot dancer in grey pants and a sleeveless black top lifts another dancer upside down. The lifted dancer is curved backward in mid-air, arms extended expressively toward the floor. The scene takes place in a bright studio with light wood flooring and white walls, showcasing balance, strength, and trust.

Photographer: Chris Randle; Dancers: Arash Khakpour and Antonio Somera

Toronto Premiere

A barefoot male dancer with a shaved head is mid-motion against a black background. He wears a black tank top and brown trousers. His right arm is raised in a bent position, and one leg is lifted behind him in a dynamic, airborne pose. The lighting emphasizes the form and physicality of the movement in this contemporary dance performance.
Photo by Chris Randle

Peter Bingham/EDAM Company

EDAM’s Artistic Director Peter Bingham brings to the stage a scored improvisation, which gives space for the strange, peripheral, vulnerable, and unexpected to unfold. Building on EDAM’s creative grounds in Contact Improvisation, six performers navigate spatial and sensorial parameters. Above all, the work underscores the intrinsic care, trust, and commitment between performers. Their collaborative research spans a strong history of improvising together.

“Vancouver’s contact improvisation company [EDAM], run by legendary director Peter Bingham since 1989, makes a special appearance with the premiere of Dead Weighting. If you haven’t seen the company perform before, expect tenderness, thrillingly unexpected defiance of gravity, and a dose of absurdity.”
– Rachel Silver Maddock (Georgia Straight)

Director: Peter Bingham

Performers: Anne Cooper, Francesca Frewer, Arash Khakpour, Alex Mah, Olivia Shaffer, Antonio Somera Jr.

Dramaturg: Raïna von Waldenburg

Peter Bingham / EDAM Company

Peter Bingham / EDAM Company (Experimental Dance and Music) is a contemporary dance company based in Vancouver. Founded in 1982 by a collective of seven independent artists, EDAM has flourished over the decades under the visionary leadership of Peter Bingham. Bingham has performed in over 100 improvised works with a multitude of national and international improvising artists. For over three decades, he has created innumerable choreographed works that highlight both athleticism and a graceful elegance. Since 2017, Bingham has had the pleasure of working with the current EDAM company creating and directing ensemble improvisations. Today, EDAM remains a presentation hub for contemporary dance and a centre for the research and performance of Contact Improvisation.

Anne Cooper, Performer

Anne Cooper is a dancer, improviser and teacher, dancing in EDAM/Peter Bingham’s works both choreographed and improvised for 30 years.She is grateful to live and work in Vancouver, BC, situated on the unceded and ancestral lands of the Musqueam, Squamish and Tsleil-Waututh Nations. She has danced for Chick Snipper, Lola Dance, Kinesis Somatheatro, Co. Erasga, Mascall Dance, Le Groupe Danspartout (QC) among others. In the field of improvisation, she’s performed with Nancy Stark Smith in the U.S. in the Glimpse Performance Installations. She has created and performed her own work and teaches Contact Improvisation at EDAM and other locales, since 2000.

Francesca Frewer, Performer

Francesca Frewer is a contemporary dance artist living as a grateful guest on the unceded, ancestral territories of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Her practice celebrates movement as an experience of the unfolding unknown — in performance, dance practice, creating work, producing shows at the DIY space Boombox, and teaching contemporary dance, Contact Improvisation, and The Feldenkrais Method.

Alex Mah, Performer/Musician

Alex Mah is an interdisciplinary performing artist, composer-musician, and practitioner of contact improvisation. He composes mostly weirdo experimental music and sometimes sweet songs for dance and theatre. He is grateful to have worked with EDAM/Peter Bingham since 2015 and was fortunate to be a jam musician for 300 dancers at contactfest Freiburg 2024, Europe’s largest CI festival. He is fond of folk music, loves a good cheesecake, and prefers taking things slowly.

Olivia Shaffer, Performer

Olivia Shaffer is a Vancouver-based Dance Artist and EDAM’s Associate Artistic Director. Her career spans 17 years as a dedicated dance and somatic movement practitioner. As a freelance performer and improvisor, her practice has been enriched by working with a wide range of collaborators. As a choreographer, her work has been presented in Canada, the US, and in Europe. She holds a BFA from Simon Fraser University and is certified in the Feldenkrais Method®. Olivia teaches at EDAM, at several professional training institutions, and internationally at Contact Improvisation festivals such as Freiburg, SFDI, and CI@50.

Antonio Somera Jr., Performer

Antonio Somera Jr. is a queer and quirky freelance dance artist who lives and works on the unceded territories of the Coast Salish peoples. His interests lie in improvisation, whether it be through contact dance, freestyling in street dance battles or becoming an adult.

Arash Khakpour, Performer

Arash Khakpour (آرش خاکپور) is a dancer and choreographer from Tehran and is privileged to be a dance artist based in the Coast Salish Territory (Vancouver, Canada). Arash has been practicing dance and performance for the past 15 years and has been a company member of the EDAM Contact Improvisation ensemble since 2017. He tends to invest in the nuances of prejudices in the body as a way of inviting the unconscious to the conscious, and as a doorway to confront unknown emotions. He sees dance as a process of physical, emotional and spiritual discovery and a mode of transformation.

Banner photo by Kendra Epik

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