Progress LATE NIGHT – After Party of Love

Sat Feb 17 | 11pm - LATE

TO LOVE-IN host AFTER PARTY OF LOVE  for Late Night Closing Party!

Space and Installation Design by Marie Lambin-Gagnon with Miguel Perreault
Visuals by Driftnote
Photography by Francesca Chudnuff
DJ sets by Syrus Marcus Ware & Crystal Whispurr

The Theatre Centre, 1115 Queen Street West
11pm - LATE

Photo Credit: Francesca Chudnoff

Part of Progress Festival at The Theatre Centre!

minor matter by Ligia Lewis

Feb 16 - Feb 18, 2018

Fri / Feb 16 / 10pm
Sat / Feb 17 / 10pm
Sun / Feb 18 / 6pm

In minor matter, two apparatuses are at play—blackness and the spectacle. This is the second work by Dominican-born Ligia Lewis from her trilogy (BLUE, RED, WHITE). Three dancers push against the boundaries of the stage, while illustrating a humble relationship between their bodies and the space that encapsulates it.

Part of Progress Festival at The Theatre Centre!

Lewis turns to the colour red to materialize thoughts between love and rage. Built on the logic of interdependence, the theatre’s parts—light, sound, image, and architecture—become entangled with the performers, giving life to a vibrant social and poetic space.

minor matter (2017 Bessie Award for Outstanding Production) unfolds multi-directionally, creating a poetics of dissonance from which questions of re-presentation, presentation, abstraction, and the limits of signification emerge. The performers get exhausted as their bodies strip the stage of its formal mystique to approach its matter—black.

Tactile Audio Display seating available!

TAD-TARDIS (Tactile Audio Relative Dimension In Sound) is an eight channel tactile sound system for the body. A limited number of TAD-TARDIS seats are available to patrons for whom it may increase accessibility. Please select a TAD seat when purchasing your ticket.

“It turns out utopia is going to have to coexist with apocalypse and that both have been with us all along. Lewis’s work offers a kind of oblique blueprint for how joy, hope, anger, and despair are all always the case, using the paradigmatic fact of blackness.” – 4Columns, New York City


Dominican Republic / USA / Germany

Ligia Lewis in co-production with HAU Hebbel am Ufer

Toronto Dance Community Love-In

Fri / Feb. 16 / 10:00pm
Sat / Feb. 17 / 10:00pm
Sun / Feb. 18 / 6:00pm

Tactile Audio Display Seating available for all performances

60 minutes

Performed in English

The Franco Boni Theatre


Concept & Choreography: Ligia Lewis

With: Corey Scott-Gilbert, Ligia Lewis, Tiran Willemse (in creation with Hector Thami Manekehla, Jonathan Gonzalez)
Musical Dramaturgy: Michal Libera, Ligia Lewis

Sound Design: Jassem Hindi

Sound Technician: Neda Sanai

Styling: Alona Rodeh

Lights: Andreas Harder

Dramaturgy: Ariel Efraim Ashbel, Assistance: Martha Glenn

Touring and Distribution: HAU Hebbel am Ufer / Nicole Schuchardt
minor matter is a production by Ligia Lewis in co-production with HAU Hebbel am Ufer. Funded by Berlin Senate Department for Culture and Europe and Fonds Darstellende Künste e.V. Additional support provided by residencies at FD-13, PACT Zollverein, and collective address. Canadian tour developed in association with Montréal, arts interculturels.

Photo: Doro Tuch


October 3-7, 2016
Dovercourt House, 10am-12pm
$75/week or $15 to drop-in
Email to pre-register
*Please note our prices include HST*

In this workshop we will dance with fascia, moving with and being made different by its generative possibilities. Fascia is often referred to as connective tissue and seen as simply wrapping muscles. But it is also an active, intelligent and communicative sensory organ enveloping, permeating and constituting the body. As the “fabric” of our form it shifts our perspective from a body made up of parts to the wholeness of the architecture holding them together. Fascia can be described as a biomatrix that surrounds everything in our bodies, connects everything, and yet paradoxically cleaves and separates everything.  It is not one thing.  The emergent set of anatomical claims about fascia stretches between communities of biologists, massage therapists, doctors, anatomist and pathologists as well as somatic practitioners and dancers. In this experimental dance research lab we will use these different claims, place ourselves in the midst of these new forms of experimental embodiment being made, and MOVE with them to create different movement scores, motifs and embodied questions in relation to fascia.
We will focus on how different models of fascia can animate our dancing bodies, creating a multitude of more than one kind of body. We will engage with the scientific practice of model building in relation to fascia to ask what can these models do? Scientists rely on three-dimensional models as objects to think with: they are recursively made and remade in attempts to conceptualize and actualize new hypothesis and new modes of inquiry. Model building entangles a modeler’s entire sensorium, and modelers must learn to feel their way through the data in order to interpret in the forms they study.
Can building models and moving with them cultivate a felt sense of emerging biological concepts for dance researchers? What does making models do to our dancing? What sensibilities emerge in their making? We couple the question of “what can a body do?” with the question “what can an instrument or fascia model do?” In the process we observe the ongoing making of subjects and objects inside this dance experiment.
About Kevin: Kevin O’Connor is a multidisciplinary artist working as a choreographer, dancer, improviser, and installation artist currently based in the San Francisco Bay Area. He has been learning from and teaching within the Axis Syllabus community for over a decade. He is part of a long term collaboration with Ruth Douthwright and Billy as part of a small collective of settler Canadian and Indigenous artists exploring community/site based performance in particular watersheds in Ontario, Canada. Kevin’s attentional practices have recently been made different by working as a biodynamic cranial sacral practitioner and learning alongside Inuit hunting families on Baffin Island. He is currently completing a PhD in Performance Studies at UC Davis where he is researching emerging anatomies in relation to fascia, body performance capacities and imaginations, unsettling practices, and community-based art making collaborations.

ps: We Are All Here

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A series of curated dance works from around the world and around the corner.

This July, Toronto Dance Community Love-In brings you Toronto’s only series exclusively for experimental contemporary dance, featuring a lineup of Canadian and International artists in a pop-up, low tech setting. Run in tandem with the Summer Love-In dance intensive, ps. reminds us that great dance work can live in the Toronto’s west end.

Presented in an intimate and casual setting that encourages discourse and engagement, ps: We Are All Here creates a space for taking in and taking on the questions that arise over contemporary movement practice. These dance nerds search to connect with their audiences and demystify dance.

See a different double or triple bill show every night and join us for discussions around why and how we make the choices we do.

Curated by the Love-In team, ps: We Are All Here pairs local and international makers for a series of performances and transforms Geary Lane into a performance sphere of  the 15 artists showing work. Making a space for discussion, time to think and two weeks of mover thinker mayhem.

Artists that will be making it, breaking it, and putting it all back together again. Don’t miss it!

Both weeks will include Friday night post-performance PARTIES with live music / DJ sets.

Cash bar and snacks provided by California Sandwhiches and Sovereign Coffee bar.

July 7th
IF AND WHEN, aka Katie Ewald and Bry Webb (Guelph)
Christopher House in work by Deborah Hay (Toronto)

July 8
Syreeta Hector (Toronto)
Alexa Mardon/Erika Mitsuhashi (Vancouver)
Jenn Goodwin (Toronto)

Holiday Love-IN 10pm-2am
selections provided by Cam Lee, põ ÑY and ae
performance of pacefaker by Kari Pederson

July 14
Ben and Gabby Kamino (Toronto)
Tina Fushell (Toronto)

Liz Peterson and Brittany Shepherd in collaboration with Matt Smith (Toronto)
Marie Lambin-Gagnon (Toronto)

July 15th
Andrew Tay (Montréal)
Alleyne Dance (U.K)
Simon Portigal (Montréal)

End of Days Closing Party 10pm-2am
Victoria Cheong and Peter Rahul
DJ set: Andrew Tay

All performances start at 8pm, doors at 7:30pm
Friday night parties from 10pm-2am.

Tickets at Eventbrite or at the door.

General admission: 1 evening $15, one week pass $25, two week pass $45

For more information:

“Contemporary, yes. Well‐curated.Dance for the theatrical folk. Dance for conceptual folk. Dance for dancers. Dance for participation. Dance for sensual types. It makes you dance. And great stories behind the works.” – Helen Yung

2014 artists: Michael Caldwell, Rob Abubo, Kelly Keenan, Adam Kinner, Christy Stoeten, Amelia Erhardt, Sonya Stefan, Pam Tzeng, Meryem Alaoui, Alicia Grant, Meg Foley, Greg Holt, D.A. Hoskins

2013  artists: Bee Pallomina, Vanessa Kimmons, RootlessRoot, Brandy Leary/Anandam Dance, Simon Renaud, Heidi Strauss, Helen Husak, Zoja Smutny, Eroca Nicols, Amanda Acorn, Andy Spaziani, Colleen Snell. 



10354069_730876633638341_1257271304871788691_nCALL FOR MOVERS FROM ACROSS CANADA AND THE GLOBE!


JULY 4-8 & 11-15, 2016

9:30AM- 6PM

Dovercourt House, 1st Floor, 805 Dovercourt Rd. Toronto.

The Love-In team announces the sixth edition of the Summer Love-In training intensive for professional dance artists in Toronto, Canada from July 4- 8 and July 11- 15, 2016 at Dovercourt House.

Get ready for sweat, magic, rigorous dancing, making, talking and togetherness!

Open to professional artists and newly graduated artists from a pre-professional training programs.

WEEK ONE: Movement Strategies with Jamie Wright (MTL),  Dancing the Present / The Body as Teacher with Christopher House (TO),  Tx2 PAC/ Thinking and Talking Performing Arts Curation with Jenn Goodwin (TO)

WEEK TWO: Dynamics, Rhythm & Texture with ALLEYNE Dance (UK), Choreographic Mind with Susan Rethorst (PHL),  Dragon Body with Claire Reid (TO)

Fees: $850 both weeks, $500 for one week (includes HST)


Send us a short note about who you are, what you are working on and why you want to participate in SUMMER LOVE-IN 2016.

Submissions will be accepted on an on-going basis now until May 9th 2016 at midnight! Send to:

Spots will be held with a deposit of $300 due by May 15th. 

Individual sessions will be available May 20th, 2016, prices vary.


PS (performance series) is back!

Do you want to share work? Tell us about it with a short description (max. 250 words) and some visual material if you have some!

July 3-5 & July 13-15, 2016. More information coming soon!




April 18-22 | Unbounded Body with Kelly Keenan (MTL)

ASTL_photo_andreadekeijzer_0154April 18- 22, 2016

Dancemakers Centre for Creation , 10am-12pm

$75/week or $15 to drop-in, email to pre-register

Please note our prices include HST.

Ultimately, The Unbounded Body is a practice of mindful moving through dancing with others. In this workshop we will refer to renditions of human anatomy in books, models and videos to colour the perception of our bodies more vivid. We will consider ideas of what the body can do proposed by me, you and outside sources. Tuning into the interconnectivity and permeability of all of our parts to each other, as well as to the force of gravity, to objects and to others we will nudge at subtle triggers to access unbound dances with pleasurable finesse. Looped co-ordinations, choreographed phrases, somatic work, improvisation and partnering techniques will be offered as methods to precisely and playfully explore moving these ideas together.
Kelly Keenan is a Montreal based dance artist and teacher. Kelly’s dance teaching practice is influenced by her extensive anatomical perception and knowledge and continued investment to translate this to complicated movement co-ordinations such as dancing. Her classes are influenced by her extensive history teaching the Axis Syllabus (2006-2015) along with others, such as Steve Paxton’s Material for the Spine and Thomas Myer’s Anatomy Trains. Kelly teaches contemporary technique at Concordia University’s Dance Department and frequently leads professional level workshops in Montreal, further abroad in Canada and internationally. Kelly was co-director of the North American Nomadic College 2012-2015. She is the organizer of Montreal Movement Educator’s Forum and on the board of directors for Studio 303- dedicated to presenting and supporting dance and interdisciplinary performance in Montreal. Kelly has collaborated in dance-making projects with Kira Kirsch, Adam Kinner, Maria Kefirova, Katie Ward and has been seen in the works of k.g. Guttman, Catherine Lavoie-Marcus, Francesca Pedulla among others.

photo credit: Andrea de Keijzer

May 2-6 | INFINITE BODIES with Alicia Grant (TO)

alicia300 (1)May 2- 6, 2016
Dancemakers Centre for Creation , 10am-12pm
$50/week or $12 to drop-in
email to pre-register


In this workshop, we will train strength, joy and power starting from wherever you are. We will train resilience. Riffing off of our own experience and the presence of the group, we will dance the cellular and molecular connections of our chemical bodies. Can we shake our cells and change the space around us and within us? Can we tap into infinity? Is it possible to set up conditions for uninhibited, wild dancing? Can we work hard and have fun doing it? Can we make instant decisions?

Can your vulnerability become your power?
You choose at what pace you go into the unknown field.

There will be questions concerning: boundaries, limits, expectations, choice-making, togetherness, autonomy and surprises. Principles from the dance freak lineage, neurophysiology, Feldenkrais, Kundalini Yoga, Klein Technique, Malala Yousafzai and Craniosacral Therapy will be osmotically transmitted throughout the workshop.

Bring your USB stick. You WILL want the playlist. Pop music will exercise its medicinal power.

Alicia Grant received a BFA in Dance from York University. Her work in performance, video and installation has been presented in Canada, the USA and Europe from stages to swimming pools to gardens to abandoned factories to galleries. She is one part of WITCHTITS, a witch power duo, with Zinzi Buchanan and works in various constellations with other makers in Toronto, Berlin and Zagreb.

She is interested in power dynamics, transformation, fear and intimacy. She works on this through moving, sweating, impossible tasks, durational experiences in saunas, yelling and running around, walking backwards through the woods, OSHO dynamic meditations, dancing to loud pop music, buying party materials, conversations with friends and strangers, reading books on space, cooking, breathing, crystals and fiction from the library, and cellular physical perceptual exercise.

Photo by Stacey Coucher

May 9-13 | Self-Care for Movers with Brendan Jensen (TO)

IMG_2578May 9- 13, 2016

Dancemakers Centre for Creation , 10am-12pm

$50/week or $12 to drop-in, email to pre-register

Please note our prices include HST

Self-Care for Movers will focus on targeted myofascial release & trigger point therapy by using specially designed high grip rubber balls & focused movement routines that help penetrate through layers of skin and muscle to massage deeply into your high tension areas.  Yoga Tune Up® is a blend of yoga and corrective exercise principles combined with various stretching modalities designed to highlight joint mobility and stability. The results are immediate relief from chronic tension, increased power through a greater range of movement, increased strength and healthy, supple joints. YTU allows a practitioner to custom-fit poses and postures that help them practice pain free for a lifetime.

Each day participants will be lead through a series of therapy ball sequences targeting different muscle groups, followed by exercises that investigate a peak pose or theme. Open to movers of all experience levels, this workshop will promote openness, relaxation and physical resilience.



Brendan’s earliest yoga practice arose from an effort to find balance within the rigorous regimen of a dance vocation. His performance career has spanned over a decade -having graduated from the National Ballet School of Canada- during which time he has performed internationally with some of Canada’s leading contemporary companies.

Brendan strives to ensure his yoga and performance practice continue to inform each other. He completed his certified Moksha Yoga training in 2009 and has since developed a successful teaching practice across Canada.  In 2011 he trained in Yin yoga with Tracey Soghrati (Soghrati Yoga) and in 2014, studied under Yoga Vini in Rishikesh, India; with further education in Asana, Philosophy, Pranayama and the Shat Kriyas.  In 2015 he became a licensed Yoga Tune Up® teacher under the instruction of Jill Miller. 

Brendan spends the majority of his time teaching in Downtown Toronto.  He has also co-led international retreats that offer intensive explorations in the practice of togetherness; operating from the belief that people thrive in community, where the individual can find personal definition in the transformative force of fellowship.

Brendan is eager to learn and grow with anyone willing to enter the studio and share their practice. He offers an open mind and heart with a healthy dose of realism; exemplified in one of his late mothers favourite quotes:

“Keep an open mind, but not so open that your brains fall out.”

May 16-20 | Open Source Forums with Bee Pallomina (TO)

pallominaMay 16-20 , 2016

Dancemakers Centre for Creation, 10am-12pm

$50/week or $12 to drop-in, email to pre-register

Please note our prices include HST.


Open Source Forms

In this workshop we will use Open Source Forms (OSF) as a framework and a guide. Founded in 2009 by Stephanie Skura as an ‘open-source’ system, OSF combines some of the intrinsic ideas and spirit of Skinner Releasing Technique with the evolving practices of its teachers. The classes move through permutations of four overlapping modes: hands-on partner studies, movement studies with awareness, releasing checklists, and moving with images in a deep state. Music is carefully chosen to support the material of each class. The classes guide participants through different states of consciousness and multiple ways of moving in order to facilitate a more dynamic alignment, a releasing of unnecessary holding in the body, a state of deep and receptive awareness, and an expansion of dynamic range. OSF is great for anyone in a creative process, people working with or recovering from injury, or those interested in exploring movement and image in an improvisational setting. It blends somatics with dancing in a way that can leave one feeling stronger, more energized, and open to new possibilities.

Bee Pallomina is dance artist, performer, collaborator and creator, currently making work for stage, installation and film/video. Born and raised in Toronto, she has worked with numerous independent choreographers, and several dance companies including Dancemakers and Dancetheatre David Earle. Pallomina has appeared in several short dance films by filmmakers Magali Charrier, Michael Downing, and John Oswald, and co-created two films with photographer/videographer John Lauener. Current long-term collaborative relationships include performance and creation with Public Recordings (since 2005), Saskatchewan dance-artist Johanna Bundon (since 2007), Toronto dance-artist Lucy Rupert (since 2008) and performative-installation and video with multi-media artist Lee Henderson (since 2009). She also has an active teaching practice, and is certified to teach Moksha Yoga and Open Source Forms. Pallomina holds an MFA in contemporary choreography from York University.

June 6-10 | Dynamic Expansion with Shannon Cooney (Berlin/CAN) at THE CITADEL


Dynamic Expansion with Shannon Cooney (Berlin/CAN)

June 6- 10, 2016

The Citadel 304 Parliament, TO 


$75/week or $15 to drop-in, email to pre-register

Please note our prices include HST.

The dance practice Dynamic Expansion, created by Shannon Cooney dancer, choreographer and craniosacral practitioner, connects one to the physical phenomenon of the Craniosacral (C/S) system and explores it through movement and dance via improvisational forms.

In the workshop one is introduced to techniques to tune into their Craniosacral Rhythm (CRI). By sensing this profound rhythm it is possible to go directly and deeply into the practice of self-witnessing. The techniques taught incorporate natural, fully-physical, energetic, and subtle dance/movements that are guided into movement improvisations. As the work evolves, one’s capacity to remain wholly connected to this vital rhythm while expanding into varied dynamic states of presences is at the heart of the practice.

Dynamic Expansion offers many possible applications to one’s personal artistic/creative work practice including: a vibrant palette/range of movement qualities, fine-tuned visual field perception, enhanced depth of focus, heightened and subtle states of presence, refined self-perception skills, new systems of connecting with self others and, profound experiences in the sensorial field.


Shannon Cooney, Canadian choreographer, dancer/performer and dance educator based in Berlin, Germany since 2006, received a B.F.A honours/dance at York University, Toronto in 1992. Her choreography has been presented since 1993 in Canada, Europe the in the U.K. As a dancer she has performed in the works of numerous choreographers and she danced with Toronto-based Dancemakers (1994-2006), artistic director Serge Bennathan, which toured nationally and internationally. Shannon performed in installation works of Visual artists Marla Hlady (CA), Signe Theill (DE), and Heidi Sill (DE) Maria Sewcz (DE), and performed in numerous events of performance improvisations with musicians/performers and artists. She works as an artistic advisor and creative facilitator for directors and choreographers in dance and performance. Shannon created a dance method, Dynamic Expansion, (2008) which she teaches internationally for dance training centres, companies, universities and organizations. It is a practice combining her embodied knowledge in craniosacral therapy and contemporary dance. Her recent choreographic/performance projects include: every one everyone (2013) acoustic sightlines (2012), Assemblages (2011) and Spiral Pendulum: dance (2009).