As I sit in the quiet moments upon returning from our Richmond Hill tour I am filled with immense love and gratitude for the experience and the people I shared it with. As we are back in the studio I can’t help but constantly reminisce about our tour. The 3 days from our dress run until our return blends into a time of excitement, laughter, and movement. 

Performing on this tour was an extremely gratifying experience. All the hard work we had put into these pieces for the past few months was worth it. The dedication and passion that we all possess for our craft was evident as we stepped onto that stage. We put our heart and souls on that floor and it was so fulfilling to see all of our hard work come to life. 

One rewarding moment from our first show was during our bows, we received a standing ovation and from the front row someone was yelling, “Bravo!” and “You’re all so beautiful!”. What that person had said to us reflected part of the dialogue in Alyssa Martin's that infinite feeling, which was part of our program. The dialogue was, “We’re up here looking at you and you are all so beautiful.” There was something so special about that parallel. 

I had the joy to be able to celebrate my sixteenth birthday on this tour and it was truly special. Performing and being surrounded by people I love was so heartwarming. A core memory was on my birthday when we were warming up on the stage and suddenly the power went out. Everyone started singing happy birthday and I made a wish on Steph’s flashlight. That moment was something so beautiful and it holds a special place in my heart. After our school show Michael had bought delicious gourmet cookies for all of us to celebrate my birthday. The day was filled with moments of celebration and I truly felt all the love. 

I am eternally grateful for the guidance of our brilliant and talented rehearsal director Steph. They have mentored us the whole way through emotionally and physically, from classes to rehearsals, in studio and out. Thank you Steph for the love, care and support you give to us. A huge thank you to Deborah and Michael—without your love, leadership, guidance, and support none of this would be possible. I am especially appreciative for your presence in my life and dance career. Last but certainly not least, a special thank you to the Company members. I thank the universe for bringing us together because I can’t picture a world without loving you all. It is so beautiful to witness your artistry and movement on a daily basis. Your talent, love, support, and souls are something I am forever grateful to know. 

Make sure to catch the second leg of CCDT's 2024 spring tour in Burlington on May 2. Tickets and information can be found at www.ccdt.org/touring.

Rehearsal photo by Francesca Chudnoff.

I glide past fragments of what I left behind, edging towards something greater. I am not without doubts, splinters of shame and disbelief weighing me down. Yet I am pushed into my future, breath entering my lungs, and I become lighter, weightless, rushing and running towards my unknown path. I don’t need to know what lies ahead.

Olivier Coëffard’s work, The thoughts drawn, is a journey through past and present, hurtling viewers towards an unknown future. I have the honour of taking this distinct journey, tapping into my own emotions and reflections to create a world that is both authentic to myself and a visual of deeper exploration.

Throughout our 10 day creation period, we had the pleasure of working closely and personally with Olivier as he created the piece. He gave us each a specific story to connect with, crafting every character with detail. As we dance through the piece, we are all on our own journeys, moving through discovery and growth. For me, the specific personalization of our roles is completely unique to this process, and the way that it affects our performance of the piece is evident in every rehearsal.

I feel this emphasis on emotional performance seeping into all aspects of my artistry. I have found deep importance in how I feel while performing, and how this feeling can spread through a theatre, igniting the hearts and minds of our audiences. While performing The thoughts drawn, I channel a deep vulnerability and humanity that I can scarcely find a place to show. This vulnerability is the gravity that pulls the company together; where else can we be so truly and honestly raw? Seeing the hearts of my peers shine through as we have worked on this piece has been the truest delight.

Rehearsal photo by Francesca Chudnoff.

A visual that Olivier suggested to me as we worked on the piece was to see the face of a loved one in front of me. Imagining the words I might share, the things I would not want to leave unsaid. As we have progressed in the piece, I find that I am always seeing my fellow company dancers in front of me. This journey has brought me an unparalleled connection with them, a closeness that is indescribable. I sincerely hope that when audiences see us perform in this work, they can feel our vulnerability, emotional honesty, and love for one another. To share our hearts and true artistic selves with each other has been a beautiful and deeply emotional process. I cannot wait for our audiences to experience and share in this poignant journey of discovery, love, and freedom.

Don't miss Tessa and the 2022/23 Company dancers performing The thoughts drawn alongside works by Jennifer Archibald, Chantelle Good, Deborah Lundmark, and Nicole Caruana, as part of CCDT's upcoming Salience mixed program. On stage at the Fleck Dance on May 26 & 27. Tickets and info here.

The view of BYTIYE from backstage on CCDT's recent Northern Ontario tour.

The process of remounting BYTIYE has gone by so quickly. Since the first casting audition, I knew that this piece was very fitting for our current company. The intricate partner work combined with strong ballet lines, and the sharper, more staccato movements highlight every dancer’s strengths to form an overall dynamic and compelling work for the audience to enjoy.

An aspect of Jennifer Archibald’s work that I particularly enjoy is the integration of improvisational tasks throughout the piece. At first, I found this idea quite intimidating. As we ran the piece more and more, I pushed myself to investigate new pathways with my improv each time. Through this exploration I discovered that the improv aspect made each run unique, as no two runs were ever going to look the same.

Remounting pieces from the CCDT repertoire can be challenging as the current cast has to live up to the high expectations the original cast has set. That being said, this process allowed for a lot of self discovery for the current cast. As dancers, we are able to make a role our own while still being true to the intent of the choreographer ‘s vision.

The original 2019 Company cast performing BYTIYE. Photo by David Hou.

BYTIYE is about a ghost that is slowly taking over the bodies of the dancers, controlling our sudden movements until the inevitable final possession beyond repair. The music joined with the moody lighting helps to create an eerie essence about the piece. The story behind this work is a very captivating one. The company was lucky enough to bring the piece to life on the Teasing Gravity Tour in Kirkland Lake and Deep River, Ontario, earlier this year, and we are so excited to be performing it again in our upcoming school shows and public performance, Salience.

Don't miss Madison and the rest of the 2022/23 Company dancers performing BYTIYE alongside works by Olivier Coëffard, Chantelle Good, Deborah Lundmark, and Nicole Caruana, as part of CCDT's upcoming Salience mixed program. On stage at the Fleck Dance on May 26 & 27. Tickets and info here.

I sit here by my window watching the raindrops resting on the glass and the sun settling in for the day. I’ve just arrived back home, and find myself feeling the entirety of the last week…the after-show rush, the absence of waking up to the tenderness within my friends, and the northern spirit of Canada that carried our bodies across this tour.

As I recalibrate, I can recall the whistling of the trees and the movements of the crystal waters. There’s a deeper story that wants to be told about committing to this company. It is a calling, a learning, that if we are willing to listen, guides the soul home. As an artist, creator, and dancer, choosing to make the choice to commit has been an active prayer of responsibility, rest, and a dedication to dance.

Scenes from the road to Deep River. Photo by Zachary Seto.

It requires the full autonomy of the kinetic human body and asks one to travel timelines all through the 4 walls of 509 Dance in order to bring the repertoire to life. The training, endless hours, and meeting of bodies on the dance floor, all of it becomes part of the journey we celebrate when we go on tour. This was a truly special tour as it was the first one following the worldwide pandemic, allowing the continuation of the company’s 40 years of lasting tradition. We, the 2023 artists, had an undying sense of wonder brewing within us. Our visions of the stage, lights, and the people we would meet there, in both Kirkland Lake and Deep River were calling our names. Stewarded by Deborah Lundmark, Michael deConinck Smith and mentored by Steph Harkness, we were all held on solid ground by their everlasting support.

And so we danced. Performing a potent mixed program including works by Hanna Kiel, Jennifer Archibald, Charles Moulton, Nicole Caruana, and Rodney Diverlus, our one communal voice as a family emerged and radiated through the theaters.

Our time away weaved such honour for one another and birthed a bond that danced to its own rhythm. We were gifted with a sense of reverence and victory that united us. It was with this, each of us was able to move through the mystery of the dance floor and soak up all it had to offer. Moving on such a rich timetable, we had our moments of needed space where we were all able to find the pockets of time that supported our vessels. I felt there was beauty in knowing when stillness or laughter was calling.

When I step onto the stage, connect in the studios, and dance in spaces so unknown, what grounds me is the lineage of this company. I can feel all our voices, the last 40 years of history smiling bright in the palm of our hands and soles of our feet. With every step, pattern, and rhythm we ride, I can hear the Canadian Contemporary Dance Theatre speak to me.

I write to reflect on this and express my deepest inhalation and imagination to this year's company. I can still hear your spirits in those halls, remember the warmth imprinted in my heart, and feel the touch of your kindness and the points of connection we created on those sacred lands. There is something so special in becoming inspired by the impermanence of our experiences.

Since arriving home, I find myself moving to the beat of our hearts and finding solace in the memories we made.

Thank you to my dance family for journeying with me. Thank you, Michael, Deborah & Steph for your unwavering advocacy, leadership, love, and support. Thank you to the building, 509 Dance for holding a sacred grid for every generation that has moved through these floors and gone on to create such beauty in this world.

May we continue to honour and build from here.

Blessings,

Zachary Nolan Seto

Willem Sadler, at centre in green, with the 2021/22 season artists of CCDT performing sagittarius, meet capricorn choreographed by Rodney Diverlus. Photo by David Hou.

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Rodney Diverlus’ 2021 WinterSong commission, sagittarius, meet capricorn offers a spark and an enlightened energy to the young dancers of CCDT. This work is filled with fast, sporadic, engaging and luscious movements. Its relationship to the astrological constellations and the earth-given gift of the Aurora Borealis gives the piece a feeling of disconnect from human experience and focuses more on extraterrestrial particles and elements. Dancing this piece, for lack of a better word, is an absolute blast. The energy required to perform the choreography, combined with the energy you receive from your fellow company dancers and the audience, leaves you with an unwavering feeling of satisfaction. This piece is engaging for both the viewer and the performer, which is what makes it such a joy to experience.

Creating this work throughout the fall months of 2021 was a jazz revelation for me. My dance career and training had mostly consisted of street styles, dancehall, ballet and modern. I had never considered myself someone who had a deep understanding of jazz dance. However, I learned early in this process that everything I had trained in previously had given me the tools to connect deeply with Rodney’s movement. They opened my eyes to how many transferable skills I could bring into this jazz piece. As we continued the creation I began to fall more in love with Rodney’s work and began discovering my style of jazz, which I would perform in this work. Rodney placed a lot of focus on our group dynamic throughout the choreographic process. They explored the idea that all of our characters were all heading in the same overall direction, yet we as individuals had space to pave our own paths. As a dancer I connected with this in a more literal way: by giving myself artistic freedom to interpret the movement to my desire while remaining focused on the idea that all of us onstage are alike. This forced me to build a connection with the other dancers and encouraged me to be vulnerable to accept their energies while performing this work.

Choreographer Rodney Diverlus during their fall 2021 creation process with CCDT. Film still by Kendra Epik.

Transitioning from a dancer to rehearsal director for the remount process was a switch I felt I needed as an artist. As a freelance artist in Toronto, part of my passion for dance falls in the category of teaching and rehearsal directing, so receiving this opportunity to share my passion with the CCDT dancers was a true blessing. Being a dancer in such a compacted, dense and difficult work is a big task for your mind and can result in a dancer only focusing their attention inward. To step out and switch roles has made me realize how self-focused my thoughts are when I am a dancer. Remounting this work for the 2022/23 CCDT dancers required me to step out of my inward focus and take a broader approach to this work. I had to take a critical eye to other dancers' movements and most importantly, my own! Making this transition has made me appreciate the architecture of this dance, and how Rodney cleverly filled the stage by overlapping solos and duets, and linking different sections seamlessly. The piece is made to be busy; you can look stage left and see something completely different than stage right. Being on the outside has made me realize this is choreographically one of my favourite elements of the piece.

WATCH: Willem Sadler, centre, with Assistant Rehearsal Director Steph Harkness (far right) leading the 2022/23 CCDT company dancers through movement from sagittarius, meet capricorn.

I have loved watching the CCDT dancers progress within the process of this 2022 restaging of sagittarius, meet capricorn. They have really taken it to new heights and I know it will be a big energy boost for the 34th WinterSong. I hope the viewers appreciate the individuality, the musicality and genuine energetic offerings the dancers put into the work. The entire Canadian Contemporary Dance Theatre is ecstatic to share this piece, and the dancers look forward to offering authenticity and celebration to the audience in performance. Enjoy sagittarius, meet capricorn, among the four other amazing works in this mixed bill. See you at WinterSong 2022!

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In addition to assisting with rehearsal direction for Rodney Diverlus' work, Willem Sadler takes the stage as a Guest Artist performing works by Colin Connor and Apolonia Velasquez in WinterSong - dances for a sacred season running Dec 9-11, 2022 at Fleck Dance Theatre. For details and tickets, click here.

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WATCH: sagittarius, meet capricron [trailer]

Video by Kendra Epik. Trailer edited by Natasha Poon Woo.

STAR SEED 2021 performance photos by David Hou. Left: Marie-Elena, centre, with the cast. Right: Marie-Elena (top) and Hope Fritz.

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A Starseed is a person whose soul is said to be from a different galaxy, planet, or star. They are beings of great wisdom and are sent to Earth to share this wisdom with others. They live fully, and are here to help others do so as well.

The creation process for STAR SEED, choreographed by Alyssa Martin, began back in the fall of 2020 during the height of early pandemic shutdowns. What was first a short dance film became a stage work in 2021, and now for this year's WinterSong, the company is remounting STAR SEED once more.

Marie-Elena in the 2020 short film version of STAR SEED by Alyssa Martin. Film still by Drew Berry.

Working with Alyssa has been one of the most amazing experiences of my life. Just like her pieces, she is incredibly energetic and enthusiastic. For me, the incredible thing about this work is that there is always room for individuality. Three different casts have been part of this piece, and each one brings something new and exciting to it.

STAR SEED was created to bring joy and laughter to the audience, but also to the dancers. Working on this piece has allowed me to find the places of caution and apprehension in my dancing, and let that all go. I've learned that I can work from a place of freedom and joy, and I hope that watching STAR SEED will help the audience find that feeling too.

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Don't miss Marie-Elena LeBlanc Bellissimo performing STAR SEED by Alyssa Martin, as well as works by Carol Anderson, Colin Connor, Rodney Diverlus, and Apolonia Velasquez in WinterSong - dances for a sacred season running Dec 9-11, 2022 at Fleck Dance Theatre. For details and tickets, click here.

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WATCH: STAR SEED by Alyssa Martin [trailer]

Video by Drew Berry. Trailer edited by Natasha Poon Woo.

From Left: Madison Costa, Hope Fritz, Caitlin Feanny, Willem Sadler, and Tessa Ziemba Lee in rehearsal for THAW choreographed by Colin Connor. Photo by Drew Berry.

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Working with Colin Connor has been an unforgettable experience. As our company is counting down the days until WinterSong, we’ve spent time delving into his original intent behind movements and how we can truly perform the work with our full expression. As Colin explained to us, THAW represents the slow shift between the ice cold winter and the melting into spring, a transformation that begins right from the winter solstice.

When we began the process for creating THAW during SunDance 2022, CCDT's summer intensive, we were given multiple creative tasks to challenge our artistic interpretation within Colin's guidelines. One task I specifically remember was being separated into groups: ice cracking, ice melting, and stuck underneath the ice. People with the same topic joined together in pairs. I had ice cracking, and after approximately 15 minutes of creation we were asked to combine our phrases to make a series. From this, we were able to integrate a handful of different dancer-choreographed sections, including our series. This was such an interesting activity to see how each person interpreted the broad topic into movement and the capability of working hand-in-hand with peers to make something fascinating. It was entertaining to see a choreographer use the creation of the dancers in their piece as I had never really worked like this prior to joining CCDT, other than in student-only choreographed pieces at my performing arts school.

Choreographer Colin Connor, left, in rehearsal with dancers Valeria Chiappetta, Caitlin Feanny, and Willem Sadler. Photo by Drew Berry.

Since the initial creation of this piece happened during SunDance, many changes needed to be made once the CCDT company's season began this fall. With Colin making a short visit in October, we only had a full weekend, Friday through to Monday, to push through the 10-minute-long work. We took all the phrases we knew were going to be carried through from SunDance and reworked them to fit into Colin’s new vision for THAW. Although stressful and overwhelming at times, it was such an adventure. There were so many moments in that course of action where I remember discussing with the company, “How does he even think of this?” or, “How does he know this will all work out?” or even, “I really wonder what his notebook looks like.” Even when things sometimes went haywire in the process, Colin was somehow capable of getting any issue with movement to resolve itself almost immediately.

Something the cast and I truly love about this piece is the engagement we have with each other on stage in the second half. Once we make it to this point, especially closer to the very end, the liveliness builds and we have so much fun feeding off of each other's energies. By showing this human connection, touch, and the sharing of emotions, Colin also wants the dance to mirror society's return back to normal life post-Covid-19. I think this connection is something truly special that will be felt through the audience. Every audience member has this joint experience from person to person, across all communities, and THAW perfectly encapsulates the tenderness of human interrelationships. Just another reason to come see this brilliant piece by Colin Connor this WinterSong!

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Caitlin's CCDT debut is coming up with performances of THAW by Colin Connor alongside dances by Carol Anderson, Rodney Diverlus, and Alyssa Martin in WinterSong - dances for a sacred season running Dec 9-11, 2022 at Fleck Dance Theatre. For details and tickets, click here.

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WATCH TEASER VIDEO: THAW - a world premiere by Colin Connor

Video by Drew Berry

Hope Fritz in rehearsal with Young Apprentice dancer Lucky Bai.

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Nowell Sing We, choreographed by Carol Anderson, is a joyous piece filled with gorgeous images and a beautiful sense of community whilst celebrating the winter solstice. My first memory of Nowell was as an audience member going to see WinterSong with my school as a 14-year-old. I was mesmerized by the graceful and elegant presence of the Mother on stage, and since that day three years ago it has been my dream to play the Mother. Now, as a 17-year-old getting this opportunity to live my dream, it's a very emotional and full-circle moment.

Getting to embody the role of the Mother has taught me a lot about myself, and learning to care for another person as a parent would. Watching the rehearsal process of past dancers has taught me to understand the importance of this role, and now being a part of this year's process has allowed me to bring my own unique embodiment of the role. With my performance, I hope that I can inspire younger generations as I was inspired by watching the Mother three years ago.

Nowell is a very important part of CCDT's history, having been performed at every WinterSong since 1988 when it was first commissioned. Being a part of an iconic work in CCDT's repertoire has been such a beautiful experience that I'm eternally grateful for. I hope that every member of the audience will feel a part of the family we have at CCDT and dance along to the alluring piece that is Nowell Sing We.

The 2021 cast of Nowell Sing We. Photo by David Hou.

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Hope Fritz performs Carol Anderson's Nowell Sing We in addition to works by Colin Connor, Rodney Diverlus, Alyssa Martin and Apolonia Velasquez in WinterSong - dances for a sacred season running Dec 9-11, 2022 at Fleck Dance Theatre. For details and tickets, click here.

After a year of surprises, letdowns, and excitement not only for the dance community but for the world, Gravity’s Edge has been the driving force keeping me humbled and happy. COVID-19 has not been easy for anyone. After the year that CCDT faced with its first ever online classes and performances, having the opportunity to dance with each other in the beautiful pieces set to be shown very soon was the highlight of my year. It was the reminder which gave me hope that dance is still an art form that allows us to be with each other, and to communicate on a level that is unmatched.

The Gift choreographed by Hanna Kiel was an inspirational and moving piece for me to dance in. Whilst learning her choreography, I felt as though its themes that I found during my exploration of the piece were prevalent in the ways the choreography is set. From how I look at it, each dancer in the piece experiences some sort of unknown force from one another that allows them to reach a level of understanding human to human connection, which could not be more fitting than in the circumstances we all find ourselves in today. The choreography has allowed me to realize that even in the midst of chaos and uncertainty, there can still be moments of gratefulness and gratitude for the people we surround ourselves with.

If I had to describe the process of learning Earth Dance, Wire Dance choreographed by Sasha Ivanochko, I would have to say that it was like being in a party while being stuck in your house for the last year and a half, which is quite literally what is soon to happen with many of us! The choreography for this dance is quick and fast; it is a fun and challenging piece that I loved learning and being a cast member in. One theme that I have found to be prevalent in this piece is the idea of observation. Throughout the rehearsal process, rehearsal director and associate artistic director Natasha Poon Woo always gave us the reminder to make eye contact and to watch what other dancers were doing. It was so interesting to see where my fellow cast members would take the choreography and how much force and intention they would apply to each slow and fast movement. We are all huffing and puffing by the climactic ending, which was by far the most physically demanding piece of choreography that I have ever learned in my entire dance career.

Being in Artistic Director’s Deborah Lundmark’s new work, the darkening green has been memorable for me. From a personal perspective, learning her choreography is interesting as it is quite different from my own approaches to choreography and the ideas I have for movement. There is a certain elegance about the piece as a whole, even during times in which our movement becomes fast paced and more chaotic. During these chaotic moments, Deborah allowed us to give our own artistic intentions and had each of us make solos, which then turned into duets/trios once we were able to rehearse and see each other in person. Although I was a little nervous about how it would look manipulating dancers’ different choreography and putting them together so they would fit, the outcome of this looks stunning.

Creating this show for everyone to see has been satisfying. As a member of CCDT who will not be a part of the company again, ending my final year with this show has given me so much joy and happiness, especially after the year we all went through. Whether or not you are part of the dance community, I hope that watching Gravity’s Edge will move you like no other show has before.

- Joshua Vilim

CCDT Dancer, 2019-2021

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Don't miss Josh and the rest of the 2020/21 Season CCDT dancers in Gravity's Edge, a virtual production of new creations and past repertoire on film!

GRAVITY'S EDGE

Premiere Livestream Saturday July 17, 7:30PM EDT

Streaming On Demand July 17-25, 2021

Click here to get tickets!

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Image of Josh and Soraya Lee Wo in rehearsal for The Gift

Choreography by Hanna Kiel

Photo by Drew Berry

Gravity's Edge graphic design by JCBowman DESIGN

Photos of dancer Kaiya Lee by David Hou

Daniela Jezerinac is a Montreal-based artist and dancer with RUBBERBANDance Group. She was a member of CCDT from 2012-2015, performing the dances of a multitude of esteemed choreographers with captivating prowess. Dani took part in of some of CCDT's most memorable performances including an exclusive presentation at the Arts & Letters Club of Toronto, several outdoor shows for thousands of audience members at Harbourfront Centre's Concert Stage, and overseas at Glasgow's Tramway for the inaugural Commonwealth Youth Dance Festival. From Mississauga and Toronto to New York and now Montreal, these recent years have seen not only the launch of the next phase of Dani's professional career, but also the deepening of her artistic and personal practices.

Tell us about your history with CCDT.

I was an apprentice for my first year with the company and a full member for two years while attending Cawthra Park Secondary School as a dance major. What drew me to CCDT was their community-based attitude that was inclusive for all individuals and the importance of curating creative and thought-provoking movers. I also was intrigued by the wide range of repertoire the company held and how diverse the training was.

One of my most memorable moments from my time at CCDT was performing Colin Connor's ARENA at the 2014 Commonwealth Youth Dance Festival in Glasgow, Scotland. It was such an eye-opening experience to be able to witness such a variety of dance throughout the world and how much the international dance community had to offer.

Rehearsing final bows with other CYDF performers at Tramway in Glasgow, Scotland. CCDT dancers, left to right: Frances Samson, Nicholas Ruscica, Daniela Jezerinac, Emily Barton, Calder White, and Laura Carella.

What have you been up to since leaving CCDT?

Upon graduating high school and finishing my time with CCDT, I continued to pursue dance at SUNY Purchase College in New York. I strongly believe that my time spent training with CCDT provided a foundation that was beneficial to my post-secondary education. In the midst of my schooling I took part of my 4th year off to join RUBBERBANDance Group, a contemporary/breakdance company based in Montreal. I graduated a semester later in the fall of 2019 and continue to dance with the company.

Tell us more about your current endeavours. How has the ongoing pandemic affected your path?

Beyond working with RUBBERBAND I have spent some of my time collaborating with fellow colleagues on other projects for festivals in Montreal and New York. Throughout the course of the pandemic, I have come to realize the importance of maintaining a connection to art and how fulfilling it is to connect with other beings through the medium.

What skills did you gain from your experiences at CCDT that have been useful and/or transferable since you have moved on?

- The importance of developing character/emotional integrity in a dance

- How the process of [creating or learning] a work is just as important as the performance

- Learning how to partner with dancers and become more spatially aware with others

- The importance of maintaining a professional attitude in any atmosphere I set foot in

- A sense of unity amongst other artists and freedom to be your unique self

Did you have any favourite work(s) you performed during your time with CCDT? What made it the most fulfilling or memorable to you?

Kevin Wynn's To Repel the Demons taught me the importance of breath. The work was a very fast-paced piece that taught me the importance of stamina and how to control your energy and dynamics through breath. Carol Anderson's Nowell Sing We allowed me to understand the beauty of a high release and how fulfilling it is to perform such a joyous dance. Ofilio Sinbadinho's ANOMYKZ inspired me to venture out into the world of hip hop and lead me to the type of work that I am doing today.

Dani, front, with artists of CCDT in Ofilio Sinbadinho's 2014 Harbourfront Centre commission ANOMYKZ. Photos by David Hou.

Were there any choreographers, teachers, guest teachers or guest artists you worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

Kevin Wynn, Natasha Poon Woo, Darryl Tracy, and many more. Any artist or faculty member that was a part of my CCDT experience fed me information that has contributed to the artist I am today.

Where do you find inspiration to stay artistically driven, motivated, and passionate? Developing a routine for myself that allows me to stay in shape and still creatively inspired really varies from day to day. The best approach I've had so far is to not put too much pressure on myself to be creating or dancing. If I am inspired, I try my best to nurture that spark. If I'm not, that's okay too.

What advice would you give to someone who is thinking about auditioning for CCDT?

Go for it! There is so much growth that is possible to be found as a human and as an artist!

WATCH & FOLLOW

@daniijez on Instagram

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RUBBERBAND / Victor Quijada:

Ever So Slightly / Vraiment doucement - Teaser

RUBBERBAND / Victor Quijada:

Vraiment doucement (Télé-Québec) Making of

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Dani's photos by Alice Chacon (@alice.chacon)

Julian Nichols is from Mississauga, ON and was a member of CCDT during his final high school years as a dance major at Cawthra Park Secondary School. He originated roles in CCDT works by choreographers including Colin Connor, Santee Smith, Alexander Whitley, and Deborah Lundmark, and enjoyed numerous Ontario tours throughout his two seasons with the company. Since then, his dancing has taken him farther afield to Montreal, New York, Taiwan, and now London, England where he currently resides. Julian is an active member of the London dance community as a performer, teacher, choreographer, and the recent founder of Bodies in Action ~ enGendering Contemporary Dance, a company that promotes equality among all despite gender identity, race, age, sexual orientation, body type, and physical ability through both creations and diversity of its artists.

Tell us about your history with CCDT.

I joined the CCDT company when I was in grade 11 and ended up leaving the company after graduating high school. I was a company member for two years and had an unbelievably amazing experience. CCDT changed my perspective on dance as a whole, which ended up leading me to pursuing contemporary dance as a profession as a dancer and choreographer.

When thinking of any highlights or stand out moments, I would say the incredible relationships you build with fellow company members become an integral part of your experience and I am forever grateful for that. This, plus working with some of the most incredible international and national choreographers allows for you to flourish as a person and dancer. What else could I have asked for as a 17-, 18 -year-old?

What have you been up to since leaving CCDT?

After I left CCDT, I ended up studying at the Conservatory of Dance at Purchase College. After graduating in 2017, I stayed in New York City for one year after. Working with both Nimbus Dance Works and The Limón Company, it was a year full of dance experience and learning. After that time in New York, I decided to leave and return back home to Toronto. Becoming accustomed to Toronto after so long of being away, I found it quite difficult to enter back into the dance scene and never knew if I wanted to stay as I've always considered Toronto my "home" and never a place of work. I was fortunate enough to work with Hanna Kiel's Human Body Expression for one of her projects whilst at home and I will forever cherish that experience with Hanna, her dancers, and rehearsal director Natasha Poon Woo. From Toronto, I decided to "hop the pond" in early 2019 to move to London, England. Currently, I am a freelance dancer, teacher, and choreographer that is always looking for ways to develop my artistry, challenge myself, and share what I can offer to the world.

Tell us more about your current endeavours. How has the ongoing pandemic affected your path?

As a professional dancer having entered the London dance scene for just less than a year when the pandemic struck, this altered my perspective on what I was doing as a dancer and affected my practice vastly. With nowhere to turn, I visited home, came back to London, went home again, and then returned a last time. Ultimately, this time of not being able to practice, congregate to see a show, or rehearse, it changed the path of what I wanted to do and gave me the availability to start to develop my own company. Bodies in Action ~ enGendering Contemporary Dance aims to include and incorporate people on the gender spectrum to participate in Contemporary Dance. Contemporary Dance is currently targeted towards people from a young age that typically identify as male or female, and we are the ones that want to change that by neutralizing the stigma of different identities by setting up welcoming and open spaces. This is something I am still working on.

What skills did you gain from your experiences at CCDT that have been useful and/or transferable since you have moved on?

- Teamwork

- Understanding my body in a physical way

- Always being able to push boundaries physically and mentally

- Creating a positive environment

- Empathy

- Being able to network efficiently

- Social interaction skills

Did you have any favourite work(s) you performed during your time with CCDT? What made it the most fulfilling or memorable to you?

Colin Connor's August. As a dancer who resonates with the Limón technique, August was a work I enjoyed to perform. Although very exhausting, it felt very comfortable in my body while being able to test my boundaries.

Julian, performing August choreographed by Colin Connor in CCDT's May 2013 production of Vectors. Photo by David Hou.

Were there any choreographers, teachers, guest teachers or guest artists you worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

Darryl Tracy, Colin Connor, Natasha Poon Woo.

Where do you find inspiration to stay artistically driven, motivated, and passionate? Tough question. I can be artistically inspired by any events or occurrences that happen to me directly or on a cosmopolitan scale. It is important for me to take breaks in between creations or dance in general to not come into a state of "overdrive". It is okay to relax and not take dance too seriously.

What are some things you have learned or discovered during the pandemic? The number one thing I have learned during the pandemic overall, in a way that applies to all aspects of myself is: Do not wait for things to happen. Do everything that inspires you without regrets. Do it now because there are other people out there doing the same thing but a lot worse, haha. But it is quite true.

What changes or growth would you like to see happen in the future of dance? INCLUSION of all gender identities and people no matter where they come from or how much money they have, or the colour of their skin. Continue to challenge the way class structures (youth classes) are organised (e.g. "boys" and "girls") to make it more comfortable for kids that don't identify that way.

What advice would you give to someone who is thinking about auditioning for CCDT?

Be yourself.

WATCH: CREATURE

A short film by Bodies in Action ~ enGendering Contemporary Dance

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Visit the links below to learn more about Julian and his company:

www.juliannichols.com

linktr.ee/BodiesinAction

@juliannichols_

@bodiesinactiondance

Help Bodies in Action Create Change This July by donating to their GoFundMe campaign in support of a new inclusive workshop and performance week:

www.gofundme.com/f/help-bodies-in-action-create-social-change

When Deborah and Michael reached out to me to share my experience of dancing Kim Frank's Doyne Suite, I was thrilled. My husband and I had just put our feet up after tucking our four children in their beds for the night. As we sipped our wine taking in the splendor of our Christmas decorations, I received Deborah’s text. I jumped up with excitement startling him. Unfortunately, he has never seen me dance professionally. I attempted to describe the costumes, the Klezmer music, its dramatic slow beginning, the scene of the night sky on the solstice, the pound of that first beat as our feet hit the stage and what it felt like as a performer to dance for an engaged audience. I flew around the living room and tried to get my husband to toss me through his legs while on my knees, desperately wanting to convey the dynamics of the piece.

Doyne, as well as the diverse repertoire of the company, has left a significant imprint not only on my artistic work but on me as an individual. Every Christmas season I play the enchanting music of Dancing Day or Nowell Sing We. Its exquisite choreography has sat with me all these years and I still remember every gesture. It doesn’t feel like the holiday season without these classic pieces flowing through my home or spilling out onto the street. I still remember much of the choreography. Doyne, like the pieces of WinterSong, is a thrilling dance to perform and most certainly for audiences to enjoy.

Putting my thoughts to paper made me think, “Oh to dance Doyne again!” To feel so completely out of breath, yet so full of life. It’s an exhilarating piece that makes a dancer feel completely connected to earth, to history, to ancestors, and to generations of storytelling and traditions. I closed my eyes, remembering the heat of the stage lights on my skin, the music, and the thrill of the dance. And I will probably remember those vibrant details forever.

My time at CCDT was an amazing gift. Looking back, I wouldn’t change a single moment. My most cherished memory of Doyne Suite is ALL OF IT, every single moment of that piece. The youthful exuberance and physical ability needed to go all in! Heart, body, and spirit. That is Doyne Suite for me. It’s 100 km/hour, no holds barred, excitement to the end. When it starts you’re thinking, “here we go,” and when it ends, you can hardly believe you pushed yourself to near physical exhaustion (with a smile).

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Miranda Abbott (CCDT Company Dancer 1995-1998 and guest artist in the early 2000s) is a professional dancer and choreographer as well as an author, educator and workshop leader, specializing in teaching curriculum through dance, art, and literature. The creator of Dance Equations, a math dance system that helps educators teach math to all grade levels through arts integration, Miranda has provided workshops to hundreds of teachers and has taught thousands of children in Canada and Costa Rica.

Learn more at www.danceequations.com

WinterSong program photo by David Hou of Doyne Suite, choreographed by Kim Frank. Dancers, clockwise from front left: Natasha Hanna, Hanna Edwards, Justin Gionet, Miranda Abbott, Simi Rowen, and Natasha Poon Woo (2004).

Hannah Clifton is a Grade 11 dancer at Etobicoke School of the Arts and a brand new member of CCDT's company this season. She shares her early takeaways from these first months of dancing with a contemporary repertoire company, from diving into new movement and honing her technique to forging meaningful connections with her fellow company members - whether it's dancing or watching movies together! - through Zoom.

Describe your history with CCDT.

This is my first year with CCDT. My first time at CCDT was the audition for the company, and I was over the moon when I found out that I was going to be a full company member. I have made so many friends that I feel like I have known for years. We even set up Zoom meetings after class sometimes and watch movies together. A highlight from my time at CCDT so far would be learning the repertoire. All of the pieces are so different from one another, which makes it really fun to learn!

What was it like training and dancing from home during the lockdown earlier this year and through the summer? What helped you to stay positive and motivated during the tough times? How does it feel now to be back at the studio?

A challenge that occurred from dancing at home during the lockdown was the amount of space that my brother, Andrew and I had to dance in. At first it was very crammed, as we had all of our furniture out, but my parents moved all of the furniture, so that we could have a bigger space to dance in, which was very helpful. I was really happy that SunDance was still occurring online because it allowed me to do something that I love everyday and still connect with others through Zoom. What helped me to stay positive was the thought that we would eventually be back in the studios, which gave me something to look forward to. Even though dancing online was fun, dancing in the studio for the first time in months was the best feeling! This experience has taught me to never take dancing in a studio for granted again.

How else did you pass the time during our time apart? Did you develop any new hobbies or skills during your time in lockdown?

During the lockdown, one thing that I did a lot of was reorganizing and decorating my room. I had so much time to deep clean my room, and I changed the look of my room all the time. I’ve always loved decorating, but the lockdown gave me so much time to find new ways to make my room an enjoyable space for me. It brought me a lot of joy!

This season is going to be very different as we experiment with alternative ways to work together and safely present dance to our audiences. What are you most enjoying and/or looking forward to?

The thing that I am currently most enjoying is working on Alyssa Martin’s piece! Alyssa is such an amazing choreographer and I love working with her. The process for choreographing this piece has really pushed me out of my comfort zone and it has been such a fun and amazing experience! I am really looking forward to the WinterSong virtual watch party and overall just continuing to learn new works!

Watch Hannah dancing with the rest of the cast in an early rehearsal for STAR SEED, a new upcoming dance film choreographed and directed by Alyssa Martin.

What's a fun fact about you most people don't know?

I love going out to brunch, to a place called Cora’s! It is my all time favourite thing to do. I don’t quite know why, but something about it reminds me of my childhood and I love going with my friends.

What skills do you think your training, performing, and overall experience with CCDT have given you that are transferable to other aspects of your life?

Although CCDT is helping me with improving my technique and finding new ways to interpret movement, they have also taught me how to persevere and manage my time, which are skills that are very useful in other aspects of my life.

Are there any choreographers, teachers, guest teachers or guest artists you have worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

All of the teachers at CCDT are amazing. You can see that they really care about you and want you to be the best dancer that you can be. Natasha Poon Woo is an incredible teacher who has helped me improve so much. She gives great corrections and helps to apply them by showing demonstrations and giving ideas that you can visualize to help you. She gives off a great energy that you can feel when you step into her class, which makes me want to do better. Every teacher at CCDT is amazing and without them, I wouldn’t be improving.

Who is someone who regularly inspires you as a dancer/artist/creator/human being?

Someone who inspires me as a dancer is Lucy Vallely. For years, she has been my idol and I hope that one day I will be able to take one of her classes in person. She is so different from many dancers that I see nowadays, and I think what I love most about her is that she stays true to herself. Her movement and technique are so flawless that it makes the best combination.

What are you obsessed with these days?

One thing that I am recently obsessed with is watching Christmas movies! Almost every single night when I get home I play a new Christmas movie. I don’t know why, but watching them makes me so happy and I’m so thrilled that the Christmas season is officially starting!

What advice would you give to someone who is thinking about auditioning for CCDT?

Just go for it!! No matter what the outcome is, the audition is a really great experience that you can learn from, and if you are nervous, think about how everyone wants you to do really well!

Share an inspirational quote that you live by.

“If your dreams don’t scare you, they are too small.”

Hannah Clifton and Uma Roberts

Photos by Francesca Chudnoff

When a serious foot injury brought an early end to his medal-winning competitive Irish dancing, Joshua Vilim discovered joy in ballet, modern, and contemporary dance techniques as a Dance Major at Cawthra Park Secondary School. After an impressive and hard-working year as a CCDT apprentice, Josh is now dancing as a full company member for the 2020/21 Season.

Describe your history with CCDT.

Last year was my first year at CCDT as a company apprentice. This year is my first year as a company member. My experience here has been immaculate so far! From performing in WinterSong 2019, to learning some of my favourite CCDT works, I am truly happiest dancing here.

What was it like training and dancing from home during the lockdown earlier this year and through the summer? What helped you to stay positive and motivated during the tough times? How does it feel now to be back at the studio?

Training and dancing from home wasn’t as bad as I was expecting! I believe it was a test to see if one really loves to dance, and I found that I truly love it, for the art of it. What helped me stay positive during the tough times was having the time to be able to work on myself as a human being - organization, self confidence, and living a healthier lifestyle. It feels incredible to be back in the studio. Even being able to travel across the floor, my body and myself have been very grateful for the opportunity.

How else did you pass the time during our time apart? Did you develop any new hobbies or skills during your time in lockdown?

During our time apart I had lots of spare time on my hands. For the first two months or so, my family and I stayed at our cottage, which gave us some much needed quality family time. I learned that I love to cook, and I read the entire Twilight series!

This season is going to be very different as we experiment with alternative ways to work together and safely present dance to our audiences. What are you most enjoying and/or looking forward to?

This season has been going great so far. I love how we had the chance to learn different excerpts from different CCDT works, some of my favourites this year, in fact. I am most looking forward to just being able to perform in front of an audience, even if it is virtual! I love to perform, it gives me a sensation that I cannot find anywhere else.

Watch Josh, second from the left, in the creation process for STAR SEED, a new dance film choreographed and directed by Alyssa Martin.

What's a fun fact about you most people don't know?

I used to be a competitive Irish dancer for 6 years, and I only started my ballet and modern technical dance training at my high school 2 years before I joined CCDT. Also, I can wiggle my ears, and I’m on the cover of a book!

What skills do you think your training, performing, and overall experience with CCDT have given you that are transferable to other aspects of your life?

I have developed some amazing skills from CCDT. It has taught me that with hard work, you can obtain almost anything you want in life. It has also taught me how to get up when life puts me down, and how to multitask my priorities.

Are there any choreographers, teachers, guest teachers or guest artists you have worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

Almost all CCDT faculty and guest teachers/choreographers have made an impact on my growth as a dancer. Most significantly, Rachael Hunt, who was the Program A ballet teacher for SunDance 2019, really kickstarted my ballet technique for what was coming in the years ahead. I believe she did a great job setting my foundations for dance.

Who is someone who regularly inspires you as a dancer/artist/creator/human being?

CCDT's Associate Artistic Director Natasha Poon Woo inspires me in so many different ways. From her eagerness to explore life, to how dedicated she is to get what she wants, there are so many qualities about her that I try to bring into my everyday life.

What are you obsessed with these days?

Lately, I’ve been really obsessed with the book series Twilight. It might sound sound crazy, but I am also obsessed with doing math!

What advice would you give to someone who is thinking about auditioning for CCDT?

Ignore the doubts you have, and just go for it! Don’t let it go to waste, it’s a once in a lifetime opportunity to shine!

Share an inspirational quote that you live by.

“The harder you work for something, the greater you will feel when you achieve it."

Andrew Clifton and Joshua Vilim

Photos by Francesca Chudnoff

A gifted young dancer, 17-year-old Mariah Fernandes brings multi-faceted artistry and creativity to her new role as a member of CCDT's company. Her keen willingness to learn is just one of the many traits that keeps Mariah on the path to growing her physicality and artistic voice to new heights this season.

Describe your history with CCDT.

This is my first year with CCDT! I auditioned for the company earlier this year, and have now been happily dancing with the company for a few months. There have been many highs of my experience so far, but I think the company photoshoot was one of my favourites. From dressing up, to dancing on the rooftop, the day was SO much fun and something that I will always remember.

What was it like training and dancing from home during the lockdown earlier this year and through the summer? What helped you to stay positive and motivated during the tough times? How does it feel now to be back at the studio?

Training from home through the lockdown definitely took some getting used to. I personally struggled the most with feeling like I couldn't feel the energies of other dancers through Zoom. That sense of energy created in a room full of dancers is one of my most favourite things about dance, so adjusting to being in my space alone was super difficult. I worked to keep myself in good spirits by really trying to seek gratitude and being extra grateful for the little things. Talking to friends, dancing on my own, and spending extra time with close family are a few things that helped me stay happy and healthy :) Coming back to the studio, especially as a new member of the company has felt so fresh and exciting. Even with masks, simply being able to laugh and share movement in a studio setting has been such a restoring process for me.

How else did you pass the time during our time apart? Did you develop any new hobbies or skills during your time in lockdown?

During our time apart, I tried to incorporate some old hobbies back into my life that I lost touch with over the years. Growing up, in addition to dance, I loved the visual arts and spent most of my time drawing and painting. Similar to dance, drawing has always been a creative outlet for me so having some time over the last few months to reconnect with that side of art was really nice.

This season is going to be very different as we experiment with alternative ways to work together and safely present dance to our audiences. What are you most enjoying and/or looking forward to?

I love learning repertoire so i'm really excited to see what WinterSong, virtually, is going to look like. I've watched multiple WinterSong performances over the years through Cawthra Park and although circumstances are obviously quite different, I am hopeful that our virtual take on the show will be just as memorable!

What's a fun fact about you most people don't know?

I've been pescatarian for almost a year now! I challenged myself in January of 2020 thinking it would be a week long "resolution", and have now fallen in love with cooking and the overall lifestyle.

What skills do you think your training, performing, and overall experience with CCDT have given you that are transferable to other aspects of your life?

CCDT already, in such little time, has taught me a lot about the importance of confidence and believing in myself. Confidence is something that I think everyone struggles with at various times, but as dancers specifically, this is common as we are often so hard on ourselves. All of the encouragement and positivity at CCDT brings me so much joy, and has made me realize how important it is to simply seize the moment and dance with no hesitation :) This is something that I will take with me outside of dance, and will continue to remind myself of each time I fall into that common spiral of self-doubt.

Are there any choreographers, teachers, guest teachers or guest artists you have worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

ALL of the faculty and guests have so genuinely been incredible to work with and learn from. Speaking of a guest teacher, working with Darryl Tracy over the last few weeks has been so much fun and has really helped me re-connect to my love for movement. His class environment feels super natural and freeing for the body and mind which is something I always appreciate, as it never fails to start my Sunday mornings on a positive note!

Click to watch Mariah (in the red long-sleeved shirt) dancing in one of Darryl Tracy's November company modern classes.

Who is someone who regularly inspires you as a dancer/artist/creator/human being?

Throughout my life, my mom has always been my greatest inspiration. She sees each day as a new opportunity to spread love, share her wisdom and lift the spirits of those around her. She has been there to support me no matter the circumstance and has been my partner in crime for as long as I can remember. I feel so grateful for our relationship and all that she has taught me, and will forever look up to her as my role model.

What are you obsessed with these days?

Recently I've been obsessed with bubble tea!! Company members Joshua Vilim and Soraya Lee Wo had insisted I get bubble tea with them a few months back, and although I was skeptical, it has now become a slight obsession.

What advice would you give to someone who is thinking about auditioning for CCDT?

DO IT! I think the audition is such a good a good way to get comfortable with a more "high pressure" environment, and if you feel nervous in any way, try to remember that everyone in the room (including faculty!) simply want to see you succeed.

Share an inspirational quote that you live by.

“Even though the journey is marked with unknowns, may you always remember all the ways you have grown."

Katie Wetmore and Mariah Fernandes

Photos by Francesca Chudnoff

Hope Fritz is a Grade 10 Dance Major at Cawthra Park Secondary School, and a new Company Apprentice at CCDT for the 2020/2021 Season. Since her first SunDance this past July she has been soaking up every moment with CCDT, both in the studio and online, finding fresh positivity and determination with each new opportunity and challenge.

Describe your history with CCDT.

This is my first year as a Company Apprentice, and I have already learnt and grown as a dancer. Though my time with CCDT has been short, I have enjoyed every moment of it. Dancing with such talented individuals has inspired me to work harder and push my boundaries.

What was it like training and dancing from home during the lockdown earlier this year and through the summer? What helped you to stay positive and motivated during the tough times? How does it feel now to be back at the studio?

Training and dancing through lockdown, although unconventional, allowed me to be grateful for every moment I get to dance without the restriction of space. Dancing through lockdown taught me resilience and perseverance. Knowing that eventually I would be back dancing in the studio allowed the passion I felt for dance to continue to grow.

How else did you pass the time during our time apart? Did you develop any new hobbies or skills during your time in lockdown?

I passed the time by reading and expressing my emotions through journaling. I also spent time walking and enjoying nature.

This season is going to be very different as we experiment with alternative ways to work together and safely present dance to our audiences. What are you most enjoying and/or looking forward to?

Firstly, it’s a great honour to be sharing the space with such talented dancers. I would say I’m most excited for investigating more repertoire creations and collaborating with amazing artists such as Deborah Lundmark and Alyssa Martin.

What's a fun fact about you most people don't know?

Many people don’t know that I taught myself how to play the ukulele. Also I went parasailing when I was six years old.

What skills do you think your training, performing, and overall experience with CCDT have given you that are transferable to other aspects of your life?

CCDT is filled with amazing teachers and dancers, I have learned many skills that will definitely transfer to other aspects of my life. An example of this is discipline, as a dancer you have to be responsible so you can grow and succeed. I have learned how fragile time can be and to appreciate the time we have to do the things we love. CCDT in the short time I’ve been there has taught me that even behind a mask you can build strong lasting relationships with those around you.

CCDT's 2020/21 Company Apprentices. From Left: Hope Fritz, Marie-Elena LeBlanc Bellissimo, and Sera Bryce

Are there any choreographers, teachers, guest teachers or guest artists you have worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

Honestly, every teacher I have had has made an impression on me. The guest teachers during SunDance were filled with enthusiasm and made me feel so included. The instructors I have had the privilege of working with in the studio have made me work hard, laugh lots and have fun learning.

Who is someone who regularly inspires you as a dancer/artist/creator/human being?

Someone that inspires me is Congresswoman Alexandria Ocasio-Cortez because she is so confident and speaks her mind regardless of what other people think. She uses her role to speak for those who can’t use their voice.

What are you obsessed with these days?

I’m definitely obsessed with Gilmore Girls, this T.V. show is perfect for the fall season and I re-watch it every autumn to get in the spirit.

What advice would you give to someone who is thinking about auditioning for CCDT?

The advice I would give to someone thinking of auditioning is to go for it. CCDT is an amazing school and company with so much to offer and everyone is so supportive and welcoming. Even if you are unsuccessful, getting the audition experience is really important for any aspiring dancer.

Share an inspirational quote that you live by.

“The best and most beautiful things in the world cannot be seen or even touched, but must be felt with the heart” -Helen Keller

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Photos by Francesca Chudnoff

Sera Bryce had some of her early dance experiences at the School of CCDT before moving toward an intensive focus on classical ballet. After many years of dedicated ballet training, Sera also discovered joy in modern and contemporary dance, which she continues to cultivate during her first season as an apprentice with CCDT's company.

While navigating these transient and unpredictable times, Sera shares how she has found both comfort and motivation in the togetherness created by dancing, explored new interests, and all the while continues to look forward with optimism and inspiration for the future.

Describe your history with CCDT.

I remember going to the School of CCDT at the age of 5 for a few ballet classes. I honestly don’t remember much but what I do remember is being in a class with Kaiya Lee, another dancer who is currently in the company! I trained at SCCDT until I was 7 and then started to audition for ballet schools.

This is now my first year fully at CCDT; I joined the company as an apprentice for the 2020-2021 season. So far I have been loving every moment of being at CCDT, it's an amazing environment in which to grow as a dancer! All the staff are amazing and very supportive, especially through these tough times during the pandemic.

What was it like training and dancing from home during the lockdown earlier this year and through the summer? What helped you to stay positive and motivated during the tough times? How does it feel now to be back at the studio?

Personally I found it extremely difficult to stay motivated during the lockdown, but I found different ways to stay positive. One thing that I did often was just improv to some of my favourite songs. It feels amazing to be back in the studio and feel everyone's energy. Dancing by yourself is relaxing but can get a bit lonely, so being around people again and dancing all together honestly makes me so happy.

How else did you pass the time during our time apart? Did you develop any new hobbies or skills during your time in lockdown?

During the lockdown I got to really discover more about myself. For practically my whole life everything has revolved around dance and training to be a professional dancer. At the young age of ten I moved away from home to go to a ballet school in Quebec and I boarded there for five years, so I was always focused on dance and never got to explore new things.

I recently discovered a love for dogs. When my dog passed away during the pandemic, I felt a strong urge to help dogs in need. Since I'm underage to volunteer at a shelter I decided to help my neighbours with their dogs. I would take them on walks, play with them, etc. Overall the lockdown helped me grow as a person.

This season is going to be very different as we experiment with alternative ways to work together and safely present dance to our audiences. What are you most enjoying and/or looking forward to?

I'm extremely excited to learn as much as I can and to learn new pieces. Because my dance training comes mostly from classical ballet, I'm also looking forward to dancing and learning choreographies that are not necessarily classical ballet.

Click to watch Sera, centre position in the second trio, dancing in a company modern technique class in early September with CCDT.

What's a fun fact about you most people don't know?

A fun fact about me is that I love to sing and according to the few people that have heard me, I'm really good (I don't think so) ^_^

What skills do you think your training, performing, and overall experience with CCDT have given you that are transferable to other aspects of your life?

I think training in dance gives you more life skills than a normal school could give you. It gives you discipline and motivation to work toward a goal. You also get amazing team skills because you are constantly working with others to either create dances or make choreography look good. When you're on stage you have to work as a team.

Who is someone who regularly inspires you as a dancer/artist/creator/human being?

There are two people who inspire me as a dancer. I call them my dance parents (because in reality they raised me as well). Martine Lusignan and John Ottmann are the people who inspire me to be a better dancer but also a better person. They were my coaches from ages 7-15, and also family friends through those 8 wonderful years. Their daughter Morgane (who I call Momo) inspires me with school and honestly just everything in general. At the age of 13 Morgane is more mature than most 17-year-olds I know, and she inspires me to be just like her.

What are you obsessed with these days?

I'm honestly obsessed with food! Food is my one true love.

What advice would you give to someone who is thinking about auditioning for CCDT?

I would tell them that CCDT is an amazing school and company and if you want to be a part of this amazing environment, then audition. In the end, just do what you love to do.

Share an inspirational quote that you live by.

"Great things never come from comfort zones." - Natalie Singh (Sera's mother)

Photos by Francesca Chudnoff

Andrew Clifton is one of CCDT's newest company members, joining this season during his final year of high school as an Etobicoke School of the Arts dance major. Andrew comes to CCDT with years of dance in his past, and aspirations to continue his dance career for decades to come.

Andrew shared with us his excitement for this new chapter of his dance journey, what kept him on his feet during the pandemic lockdown, and what motivates him to excel as a dance artist.

Describe your history with CCDT.

This is my very first year being a dancer at CCDT. Last year, I auditioned to be a company member and was extremely excited when I received the letter that I was accepted as a full company member. Although this is not only my first year but the year of the pandemic, I have still made so many incredible friends and I feel that all of us are becoming a great big family. There is nothing better than walking into the building and being welcomed by all of my teachers and peers. A highlight from my time at CCDT would definitely be the company photoshoot! It was the most amazing experience and I feel that it really helped me grow as a dancer.

What was it like training and dancing from home during the lockdown earlier this year and through the summer? What helped you to stay positive and motivated during the tough times? How does it feel now to be back at the studio?

There were a few different struggles that came with dancing at home over the lockdown. At first, there was not much space at my home for both me and my sister to dance, but my parents made a great decision and moved out all of our furniture to give us a great space. Once we had our space complete, I was able to dance comfortably at home and really enjoyed every moment of it. SunDance was such an amazing experience for me and I felt that I learned so much over the three weeks. It was incredible to get to continue my training online and it was really nice to have something to look forward to over lockdown. Although I enjoyed taking classes online, there was nothing like the feeling of dancing in a studio again! I am so happy to be back to in-studio dancing and I wouldn't trade it for anything!

How else did you pass the time during our time apart? Did you develop any new hobbies or skills during your time in lockdown?

During lockdown, I finally learned how to drive! I had been terrified of getting behind the wheel for so long, but having so much time during lockdown, I finally did it. Now, driving is one of my favourite things to do in my spare time! I finally booked my G2 Test and hopefully will be able to drive myself to dance after the Christmas break.

This season is going to be very different as we experiment with alternative ways to work together and safely present dance to our audiences. What are you most enjoying and/or looking forward to?

Right now, my favourite thing to do at the studio is work on pieces of the CCDT repertoire. So far, we have worked on a few pieces and every time we learn a new one I get very excited. My favourite piece that we have worked on so far is Embers choreographed by Jera Wolfe. The choreography is my favourite style of movement and the music is so calming to dance to. Learning the repertoire helps me to improve with picking up choreography and teaches me to practice a variety of different styles of movement and intention. Looking into the next couple of months, I am really looking forward to working on Deborah's new film creation and just learning more repertoire!

Click to watch Andrew with his fellow 2020 CCDT Company

artists investigating an excerpt of Jera Wolfe's Embers.

Are there any choreographers, teachers, guest teachers or guest artists you have worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

Every teacher at CCDT has done an excellent job at helping me to improve technically and helped me to train at a more intense level. Speaking of a few, Natasha Poon Woo has immensely helped me to improve over these last few months! She gives amazing corrections and the way that she teaches really sticks with me and allows me to understand and apply the correction right away. She is also very encouraging with her feedback and always gives great examples of how to fix them. Carmen Cairns has also been incredible and really helped me to notice the things I could improve on in ballet. She always helps you to apply your corrections and never gives up on it; even if you don't get it right away. After being at home for about 6 months, my technique definitely was not at the same level it had been before and I wouldn't have been able to bring it back to where it was if it weren't for all of my teachers.

What's a fun fact about you most people don't know?

I am obsessed with Harry Potter! I have watched the series fully through probably 25 times in the last few years.

What skills do you think your training, performing, and overall experience with CCDT have given you that are transferable to other aspects of your life?

Along with all of the amazing technical training I am receiving at CCDT, I am learning many important things that I can use in my every day life. I am learning about commitment and time management; as well as improving my organizational skills and just an overall sense of memory while learning all of the choreography.

Who is someone who regularly inspires you as a dancer/artist/creator/human being?

Someone who inspires me regularly would have to be my parents! My mom was a dancer when she was a kid and even went to Cawthra Park Secondary School for dance. My dad, on the other hand, doesn't have a dancing bone in his body but still supports me in my passion. Both of my parents work incredibly hard for my sister and me and do anything for us to be happy. It inspires me every day to work my hardest for them and to try my hardest at all times. They do everything for me and all I can do to repay them is show my dedication to dance, my studies, and show my gratitude!

What are you obsessed with these days?

Along with Harry Potter, I am obsessed with watching old dance videos from when I was younger and watching episodes of Dance Moms, haha. I also love to put on music and come up with choreography!

What advice would you give to someone who is thinking about auditioning for CCDT?

Do it!! It is one of the most amazing things that has happened to me! Just work your hardest and don't let yourself stress about anything! Enjoy it.

Share an inspirational quote that you live by.

"If you can dream it, you can do it" - Walt Disney

From left: Claire Finlayson, Andrew Clifton, and Kaiya Lee

Photos by Francesca Chudnoff

Belinda McGuire's seven years dancing with CCDT were some of the richest in the Company's history, with highlights including the Keynote Performance at the 2000 Dance and the Child International conference (Regina, Saskatchewan), the 2002 two-week tour of Singapore and Malaysia, and the monumental collaborative work Souls, a full-length, inter-generational piece created and choreographed by Holly Small. Belinda performed leading roles in numerous works, showcasing her versatility in the movement of dancemakers such as Carol Anderson, Deborah Lundmark, Karen Kuzak, David Earle, and Danny Grossman, among many others. Belinda was the first CCDT alum to continue her dance education at the prestigious Juilliard School, and soon after became the second former CCDT member to join The Limón Company.

The Artistic Director of Belinda McGuire Dance Projects, Belinda is now a highly sought-after solo performer, choreographer, and teacher based in Brooklyn, NY. Her illustrious career has led her to be revered as "a tireless whirlwind" -Susan Walker, The Toronto Star; "Ravishing" -Paula Citron, The Dance Current; and "... a dancer whose beauty, presence and intensity reminds me of why dance has been the inescapable throughline of my life." -Martha Schabas, The Globe and Mail.

Briefly describe your history with CCDT.

I spent a year as a young apprentice in 1995/1996 (I was 11), then I joined the company from 1996-2002 when I graduated.

What have you been up to since leaving CCDT?

I studied at Juilliard, and went on to dance with Gallim, Doug Varone and Dancers, and The Limón Company. I started my own company doing mostly solo work and lots of collaborative projects. I teach a lot...!

What skills did you gain from your experiences at CCDT that have been useful and/or transferable since you have moved on?

Attention to detail, and appreciation of how that detail relates to the big picture. A sense of value for the qualitative things. Appreciation for deep physicalization as a way to gain understanding (ie. you don't need to sit down and think about things in order to know/understand more). Appreciation for cumulative efforts - both accumulating over time (regular practice can yield big change) and from multiple sources (ie. how we all worked together in order to grow artistically and as "mere" humans).

Did you have any favourite work(s) you performed during your time with CCDT? What made it the most fulfilling or memorable to you?

Serious Games [by David Earle], Les Belles Heures [by Carol Anderson], Doyne [Suite by Kim Frank], and Dancing Day [by Deborah Lundmark]. Each of those pieces were a landmark and a catalyst for me. One of the best feelings is to feel yourself changing. And I could feel it especially in the arena of those works.

Belinda McGuire & Kristen Foote in Arresting the Bayou by Karen Kuzak

pictured on an old school SCCDT brochure circa 2001

Dancers Nicholas Ruscica and Hannah Szeptycki in Incipit Vita Nova by Belinda McGuire, commissioned for CCDT's production of WinterSong 2014. Photo by David Hou.

Were there any choreographers, teachers, guest teachers or guest artists you worked with at CCDT who have been greatly influential on your training and/or growth as a dancer and artist?

Really it was the complement of all of them. As soon as I start mentioning one, I feel like I must mention three more and three more and three more. Donna Krasnow, though, might be at the root of it all, because she gave us so many vital tools to more fully unlock what the other artists and their work had to offer us.

Who is currently giving you inspiration?

It's a symphony. I can't call out one instrument.

Belinda in Sharon B. Moore's Anthem for the Living. Photo by Jubal Battisti.

How did you balance the training and performance demands of CCDT with school, family commitments, and the rest of your life?

Be fine not being everything all the time. On the dancing front, enjoy the rigor, and know that indulging in that isn't necessarily taking away from your academic pursuits. It is more obvious to me now than ever before that my brain works best when I'm moving. It's a great way to process life.

What advice would you give to someone who is thinking about auditioning for CCDT?

Enjoy what it feels like to move.

Closing remarks: Is there anything else you would like to share?

Show up. Be there, with people (once it's safe again!). Trust that you don't have to feel prepared for the thing in order to start doing it.

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Visit the links below to learn more about Belinda and her work:

www.belindamcguire.org

Youtube: BelindaMcGuire

Instagram: @offsetdance_fest, @belindamcguire

Twitter: BMcGuireDance

Facebook: Belinda McGuire Dance Projects

Dancer, choreographer, and teacher, Dante Puleio, was recently appointed Artistic Director of the Limón Dance Company. He trained at the Laban Centre in London, the North School of Contemporary Dance in Leeds UK, and received his BFA from University of Arts in Philadelphia. After a diverse performing career with the Limón Dance Company, touring national and international musical theatre productions, television and film, he received his MFA from University of California, Irvine. His research focuses on contextualizing mid 20th century dance for the contemporary artist and audience. As Artistic Director of LDC, Dante is committed to implementing that research by celebrating José Limón's historical legacy and reimagining his intention and vision to reflect the rapidly shifting 21st century landscape.

Dante was the featured Limón Modern instructor at last year’s SunDance, and we are thrilled to welcome him once again—this time online!—to teach the 2020 intensive dancers a ‘Surprise Wednesday’ modern masterclass on July 22nd.

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What first influenced you to begin dancing? When did you realize that you wanted to pursue dance and/or dance education professionally?

I always loved dancing, but began formal training at 19. I took an actual dance class in college and realized this is what I am supposed to do.

Why do you think you gravitated towards ballet/modern/the style of dance you are currently most engaged with?

My first years of taking dance class I was concerned with doing the steps correctly and well. It was through Limón class that I learned that dancing was not just doing a series of steps well; Limón taught me that the steps were the vehicle to express myself through movement

What has been a career highlight for you?

Dancing for the Queen of Holland.

What is a challenge that you have faced in your dance career and how did you overcome it?

Self-doubt and people pleasing. I'm not sure I ever did [overcome that] as a performer.

Do you have any advice for young, aspiring dancers?

Take risks, be wrong, dance big, make mistakes, fall down, get up, laugh and doing it again and again and again.

Learn more about Dante and the Limón Dance Company:

limon.nyc

dantepuleio.com

Instagram: @limondance

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WATCH: an ally's attempt by Dante Puleio

WATCH: Dante Puleio's Advanced Modern Class at SunDance 2019

Photos by Kelly Puleio, Grace Landefeld, & Jazzy Faith