Nov 27-Dec 1 | Aggressive Snuggling: From the Politics of Touch to the Poetics of Touch



Aggressive Snuggling: From the Politics of Touch to the Poetics of Touch with Eroca Nicols 

November 27-Dec 1st, 2017

Monday- Friday 10am-12noon.

Dovercourt House, 2nd Floor. 805 Dovercourt Road, TO.

Cost: Full week $75,  $16 in advance, $17 at the door.

** Wednesday’s CLASS is PWYC, as we are going on a little field trip!

Meet at Dovercourt House for 10am! Wear clothes to go outside.


Community Accessible Workshop

TO Love-In welcomes all bodies with an artistic and physical practice to join us in creating a space of inclusivity, generosity, respect and LOVE. We are committed to making class available to everyone. If you have barriers to accessing these classes, financial or otherwise, please contact us as soon as possible by sending an email to:  Please note that any arrangements are subject to availability.

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About the Workshop:
I have recently I started studying Brazilian Jiu Jitsu and I see many parallels to contact. Like CI, in BJJ it is absolutely necessary to commit all my attention to the task at hand because of real physical risk. One of the aspects I love about BJJ and where I see a very real difference from CI, is the incredible clarity of boundaries. When a person “taps out” a little tap on the shoulder or leg or really anywhere that can be reached, means: stop doing what you are doing, let go, physically come apart and start again. Also, before engaging in any touch, there is a customary high five then fist bump. The cues are not a suggestion of agreement, these cues are clear; yes, I agree to engage and; no, I longer agree and we are now stopping.
Often boundaries are muddy in contact improvisation and there are many reasons for this including systemic hetero-patriarchy, white supremacy, colonialist ideas of “freedom” and ableism. CI culture can include clear boundaries but in my experience it does not and this excludes many people particularly many women and femme presenting folks, queer folks, gender fluid folks, people of color and folks of different abilities. I want CI to be a place I can invite my community but it is currently not. Perhaps by adopting some of the explicit consent codes of BJJ, we can address some of the issues around consent and boundaries that exist inside the CI community. And do so with care and openness.


I want to stress the importance and the place for the politics of touch to precede the poetics of touch. I believe that we can begin to work on this and at the same time have a good time learning some fun skills from another partnered movement practice (BJJ.)
Here’s a list of some of the things we will definitely do:
-Ask for and receive consent before touching anyone!
-Develop and practice both a physical and a verbal start and stop signal.
-Practice saying yes and saying no and meaning it.
-Practice hearing yes and hearing no and responding to it.
More skills we will work on:
-play with different levels of compression and weight
-extreme squeezing, how do we dial up and down our tone?
-improvising from BJJ “positions”
– mount, guard, half guard, side guard.


Eroca Nicols is an international performance art and body nerd. Her alter ego and company, Lady Janitor combs the globe looking for places to incite radical moments of art chaos, consume massive amounts of coffee, wear amazing unisuits and confer with movers and thinkers of all varieties.
Eroca is currently known a dancer/choreographer/teacher but her multiplitous practice stems from a family of semi-mystical nomadic trailer people, years working as a janitor, and a BFA in video/performance art and sculpture from California College of the Arts (formerly and Crafts.) Her teaching, dancing and training are deeply influenced in her continued study of choreography, ritual, biomechanics and Brazilian Jiu Jitsu.
She is super stoked to be all over the world including stints as Teaching Artist in Residence at The Whole Shebang in Philadelphia and at various festivals and institutions including The School of Making Thinking in NYC, P-af/performing arts forum in France, ImPulsTanz in Vienna and Studio 303 in Montreal. Eroca is a Chalmers Research Fellow, and investigates death, ritual and performance with healers and conveners around the globe.
Photo credit: Michelle Panting

Oct 16-20 | Inside the Music with Faizal “Mostrixx” Ddamba (UGA)


TO Love-In & dance Immersion





When: October 16- 20th, 2017. Monday- Friday 10am-12noon.

Where: Dovercourt House, 1st Floor. 805 Dovercourt Road, TO.

Cost: Full week $75,  $16 in advance, $17 at the door.

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 Toronto Dance Community Love-In is excited to share our season opening partnership with dance Immersion.  dance Immersion is a leader in Producing, Promoting and Supporting dancers and dances of the African Diaspora since 1994. Together we are hosting Faizal Mostrixx from Uganda with a TO Love-In workshop and dance Immersion dance Immersion’s Presentation.

The workshop:

When vocals or instrumental sounds are combined in a way to produce a beauty of form, harmony, and expression of emotion (Music). When we allow our bodies to go inside the music we can access our consciousness that will shape further decisions for our presence in posture.

This class will involve exploring technical, complex, improvisational and physical movement vocabularies from African drum music to digital /experimental music and rhythms.

This workshop aims to develop the dancers’ musicality, creative mind, speed, control (determination) and decisions they make as their bodies become instruments during and after the workshop. The music in this session is very important. It will challenge, inspire, motivate you and surprise your body strength.

My style as a mover and a music manipulator has been inspired by mixing both my desire of making music and dance, through working on different levels of dance forms like contemporary, traditional African, Hip Hop, Breaking (b-boying), Afro fusion, popping and working with music and voice teacher’s likes of Charmaine Leblanc & Angelique Willkie.

About Faizal:

Faizal Ddamba aka Mostrixx is a freelance professional dance performing artist and music producer. His expertise includes breaking,contemporary, popping, hip hop, house dance, fusing it all with African Ugandan traditional dance forms, giving it a unique rhythmic and groovy abstract afro texture. Ddamba started dancing at the age of 9 in Primary school level, participating in music dance and drama (MDD). Joined Break Dance Project Uganda, a youth founded project that uses break dance and other elements of hip hop bridging young people together for a positive social change in societies. Ddamba is currently member of Tabu flo Dance Company.


dance Immersion and TO Love In


Faizal Ddamba alongside Toronto Artists

8:00 pm | Saturday October 21, 2017

Dancemakers Studio- Theatre Studio 313

15 Case Goods Lane #301, Toronto, ON M5A 3C4


More information and tickets here!

In partnership with dance Immersion, Toronto and Studio 303 Montreal. THANK YOU!

Watch more:

Heart to Heart || FREE SLI events


Heart to Heart

A series of FREE events during Summer Love-In


 Welcome Potluck

Monday July 3rd in Dufferin Grove Park


*Rain Location TBD



Talking Thinking Dancing Body with Justine A. Chambers & Brandy Leary

 Tuesday July 4th, 7pm @ The Common, 1028 Bloor St. West @ Gladstone

battery opera performance’s Talking, Thinking, Dancing Body (TTDB) is a facilitated conversation about aesthetics, context and artistic process. Initiated in 2012 by Lee Su-Feh, it encourages speaking about dance from an awareness of our bodies and the world it lives in. It unabashedly interrogates dance through a lens concerned with decolonizing, anti-racism and feminism.

Justine A. Chambers has been co-facilitating TTDB since 2013. In 2016/17 TTDB comes as a series of salons led by Justine A. Chambers with Sadira Rodrigues and Su Feh Lee. Their conversations have formed a discussion open to all present.

During SLI 2017, Brandy Leary joins Justine A. Chambers to speak about performance, bodies, histories and ephemera.



Heart to Heart: a conversation about the relevance of training in TO today! 

July 11th

7-8pm, Pia Bouman’s Studio Theatre, 6Noble Street

Snacks will be shared!


TO Love-In is in its 7th year of providing workshops for dedicated artists, movers and body practitioners in the Toronto Dance Community.

Heart to Heart, an open public conversation, will bring together shared perceptions and experiences from all those who attend, checking in with the relevance of training at this time.

We’ll discuss what humans are training for? Who is training? What training can be? What is a ‘space’ for training?

Lovers want to know: How can The Love-In best serve the TO Dance Community in training modes while continuing the revolution of dancing making and doing in Canada?

Badass Movers, Body workers, Community Organizers, Critics, Writers … – COME, We Want to hear from you!!

This event is in correlation with the other badass Summer Love In programming. There’s 6 dreamy workshops, a conversation about performance, bodies, histories and ephemera and to top it off 4 nights of curated magic, performers and performances that will open your hearts and minds.

A conversation co-hosted with Lovers Robyn Breen, Tina Fushell & Kate Nankervis in partnership with the newly established Institute for Dance Studies, University of Toronto Seika Boye, VK Preston & Niomi Cherney

VK Preston is an Assistant Professor at the Centre for Drama, Theatre, & Performance Studies—she writes and teaches interdisciplinary performance theory and dramaturgy.

Niomi Anna Cherney has been, in her life, a mover, maker and thinker. These days she identifies most predominantly as a writer. Niomi’s writing has been published in Hypatia: Journal of Feminist Studies, Theatre Research in Canada and the Journal of Research in Phenomenology. Niomi holds a BFA in Dance from York University, a Master’s in Philosophy from Concordia University, and half a PhD from The University

of Toronto, Department of Drama, Theatra and Performance Studies. The other half she’s not so sure about right now. In her practice, Niomi is most excited about the palliative care work she does with children, where she integrates somatic work and play therapy. She hopes that all her diverse interests will come together somehow. Niomi is the proud Chair of the Love-In’s Board of Directors.



PS: We Are All Here 2017

The Toronto Dance Community Love-In presents

Toronto’s most badass dance series with a heart for experimentation

Pia Bouman Scotiabank Studio Theatre

6 Noble Street, Toronto, ON

July 6, 7 & 13, 14

Perfromances 8:00pm

Doors: 7pm




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The Toronto Dance Community Love-In presents PS: We Are All Here

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

We will transform Parkdale treasure Pia Bouman Scotiabank Studio Theatre into an all-embracing love-nest for performance and party.

 …chaotic, immersive, messy, pleasurable, lo-fi, inquisitive and supercilious work…


Lo bil. Robyn Breen. Angie Cheng. Elizabeth Chitty. Shannon Cooney. Ellen Furey & Malik Nashad Sharpe. Marco Da Silva Ferriera. Justin DeLuna. Brendan Jensen. Muti Musafiri. Supriya Nayak. Rock Bottom Dance. Shelby Wright & Katie Lyle. Lexi Vajda.


July 6

Robyn Breen.  Ellen Furey & Malik Nashad Sharpe. Shelby Wright & Katie Lyle. Angie Cheng.

July 7th

Rock Bottom Dance. Muti Musafiri. Shannon Cooney. Angie Cheng.

July 13

Supriya Nayak. Marco Da Silva Ferriera. Elizabeth Chitty.

July 14

Lo bilJustin DeLuna & Francesca Chudnoff. Brendan Jensen. Lexi Vajda.


JULY 7th & 14th


After-parties hosted by DJ CrystalWhispurr music by local DJ’s and space design by Mary-Dora Bloch-Hansen, and Francesca Chudnoff and video installation by The RUDE Collective.

CURATED BY THE LOVERS: Robyn Breen, Tina Fushell, Kate Nankervis

BEER AND CIDER SPONSORED BY: Collective Arts Brewing

FUNDED BY THE GENEROUS SUPPORT OF: Toronto Arts Council and Ontario Arts Council.


June 19-23 | Enquiring under forms with Francesca Pedulla (ITA)

Enquiring under forms 
June 19- 23, 2017
Artscape Youngplace, 180 Shaw St, Toronto
Cost: $75/ week or $15 to drop-in

Our prices include HST.

This workshop is Movers with a physical practice.
Axis Syllabus



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Enquiring under forms
internal and external adaptations

“… but, the exterior of a living thing, what else is it but the eternal manifestation of the interior? The exterior, or vehicle, is so finely tuned to the internal construct in all its variety and delicate complexity, that it is itself destined to become internalized, because the two qualities of internal and external are in a direct and permanent rapport, whether in a state of repose or virtuosic movement…”
J.W. Goethe

I am interested in dialogues.. successful ones, unfinished or failed ones.
The complexity of the body in motion is a challenging and a stimulating research opportunity, revealing many questions…
How does our individual anatomy define/influence our experience?
How do we adapt to external conditions?
How do we share the moment?
How we tune into ourselves?
How do we dance together?

During the classes I will employ theoretical and practical input, discussion, individual and group games and improvisation, and some dancing together….


ABOUT Francesca Pedullà
Dance artist, independent researcher and curator, dance teacher . She holds a masters in History of Theatre and Performing Arts, a diploma as professor of African Dance Expression – FEIDA Bordeaux. She is certified to teach the Axis Syllabus. Since 1998 she spends several months a year living in Benin, who’s culture has been a profound influence.
As choreographer and artistic director she develops, since 2005, artistic works and cultural cooperation projects both in Europe and Benin (West Africa). From 2008 to 2012 she co-curated together with eric Acakpo the intercultural / international project Dialogues Inévitables Since 2011 she is the artistic director of TRACES – produced by the Association Sonagnon and the Axis Syllabus Research Community in collaboration with the Centre Choréographique Multicorps.

Since 2014 she curates in Berlin together with Kira Kirsch, the dance festival Sensing in, in the same year she initiated together with Elisa Ricci the modular project On how we see – Questioning the curatorial gaze.

Her latest choreographies were presented at Insitute Français de Cotonou, FITHEB (Benin), Teatro della Tosse (Genova), Teatro dell’Archivolto, Hangart Festival (Italy), TroisC L (Luxembourg), Centre Culturel Cité Culture (Brussels), festival the Biennale Passage 012 Bielefeld, TFK Berlin , Haus of the Berliner Festspiele (Germany) among others.
Currently based in Berlin, she choreographs, performs and teaches throughout Europe, Israel, Brazil the USA, Canada and Benin.

This is a INTERNATIONAL EXCHANGE. Thank you Toronto Arts Council and Ontario Arts Council.

How To Register

May 1-5 | route work with Heidi Strauss (TO)

route work with Heidi Strauss (TO)

May 1-5, 2017
10:00 am-12 noon

Dovercourt House, 805 Dovercourt Rd. Toronto
Costs: $75/week or $15 to drop-in


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ABOUT route work:

A practical time to stretch the inner structure and outer surfaces of the body, to listen to sensation, to follow a direction as far as it can be taken, to flip intent/change approach, and to trust the body in action.  We will look for efficient routes, considering effort and articulation, when to hold on and when/what to let go.  We will see if this makes a difference, and if that difference is important to us. Together and alone we will play with response, duration and direction.  We will figure it out by doing it. And by doing it, get closer to understanding what we want from it.

ABOUT Heidi:

Dancer/choreographer Heidi Strauss is also the artistic director of adelheid.  adelheid’s work looks at human interaction and connection, with a specific interest in the situation of performance and how we consider each other (audience & performer) within that construct.  She was dance artist in residence at the Factory Theatre (2008-2012) and a resident artist at the Theatre Centre (2013-16). Her award-winning work has toured nationally.  Heidi has choreographed for Toronto Dance Theatre, The Frankfurt Opera, The Canadian Opera Company, Volcano theatre and the Stratford Festival.  She has given workshops across Canada, and in the Czech Republic, Germany, Italy and Singapore.  In 2012 she received the KM Hunter Award for Dance.

This workshop is for Professional Dancers.

How To Register

April 17- 21| Gaga/Dancers with Laura Toma (MTL)


Gaga/Dancers with Laura Toma (MTL)
April 17- 21, 2017
10:15 am-11:30am

Dovercourt House, 805 Dovercourt Rd. Toronto
Costs: $75/week or $15 to drop-in
Our prices include HST.


Thank you for your sweaty inspiring bodies today! 
In hopes to hold a healthy safe space with love and care, we will close the class at 50 bodies for the remainder of the week!
For everyone already registered and paid, PLEASE arrive and be ready for 10:10AM.
We will accept a selected amount of Drop-Ins each day. This will be on first come basis starting at 9:45 AM.
Please do not email or send money to try to get one of these spots!
Reminder of the GAGA/Dancers Class Rules, by GAGA MOVEMENT LTD.
+ no photos
+ no watching or auditors ( if you need to slow down or take a break, please stay present while take care of the body, mind and others)
We are all truly overwhelmed by the generous room this morning and we appreciate your patience as we try our best to support everyone! 


Gaga is a movement language which Ohad Naharin developed over the course of many years and which is applied in daily practice and exercises by the Batsheva Dance Company members. The language of Gaga originated from the belief in the healing, dynamic, ever-changing power of movement, and it continues to evolve today.

Gaga is a new way of gaining knowledge and self-awareness through your body. Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Gaga raises awareness of physical weaknesses, awakens numb areas, exposes physical fixations, and offers ways for their elimination. The work improves instinctive movement and connects conscious and unconscious movement, and it allows for an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes, accompanied by music, each person with himself and others.

Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+.

These classes last for an hour and fifteen minutes and are taught by dancers who have worked closely with Ohad Naharin. Gaga/dancers classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar movements with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well. Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of available movement options, enhances their ability to modulate their energy and engage their explosive power, and enriches their movement quality with a wide range of textures.

Born in Romania and raised in Ottawa, Laura is a contemporary dance artist living in Montréal. She graduated from the professional program at The School of Dance in Ottawa and also holds a diploma in Dance Studies from the Laban Center in London, UK. In August of 2012, Laura graduated from the first official Gaga Teacher Training Program in Tel Aviv, Israel under the mentorship of Ohad Naharin. She is currently working as a co-choreographer, freelance dancer, and the only certified Gaga teacher in Canada. She has experience teaching at the Suzanne Dellal Center for Dance and Theatre in Tel Aviv, the contemporary dance company Ate9 in Los Angeles, for the dancers of Compagnie Marie Chouinard, the Ottawa Dance Directive (ODD), Studio 303, Ballet Divertimento, Danse à la Carte, the Regroupement Québécois de La Danse (RQD), L’Artère, UQAM and Concordia University dance departments, l’École Supérieure de Ballet du Québec (ESBQ), and l’École de Danse Contemporaine de Montréal. She is a co-founder of LA TRESSE collective and works regularly with choreographer Andrea Peña. In June of 2016 Laura performed at the Venice Biennale of Dance for Israeli/French choreographer Emanuel Gat.



Mar 27- 31 | MOVING VOICE/ VOICE BODY with Gerry Trentham


March 27-31, 2017.

Dancemakers Centre for Creation, Studio 313
Costs: $75/week or $15 to drop-in
Discount opportunity: $70 for whole week with pre-registration by emailing Our prices include HST.

This workshop is OPEN to humans with a physical practice!


The workshop will be informative for performers of all forms including art enthusiasts. Since this voice training is focused on the individual needs of the speaker all levels in various performance forms can learn together.   For performers of all forms the work is designed to synthesize physical and vocal work to unearth a deeper presence and enliven their creative practice.  For dancers exceptionally trained to dance and who achieve deep presence and range in moving on stage this work encourages a similar presence and range in the text.  Without voice and text training dancers are limited to a confining range of personal habit patterns that create limited choices for the choreographer who wishes to use text in their work. Performed works can become uneven between forms when performers can not approach the text in the way they can achieve great specificity and range in the dance or movement or vise versa.  Limitations with text or movement affect the inspirational nature of the works overall presence. However performers exceptionally trained in one performance form are quick learners. They simply need to transfer their performance training. The vocal training can provide artists with a range of vocal choices from their audible natural voice to an embodied theatrical performance. For twenty years Gerry Trentham has researched the most effective way to transform the dancer presence into text and actors presence into movement. whether used on stage or elsewhere the training builds confidence in speech and helps unearth the artist’s voice both practically and metaphorically.

Gerry Trentham

Beyond the cannon of over thirty lbs/sq” company works where his interests has developed toward location specific visual art/performance installations, Gerry has performed throughout North America and Europe in the works of many of Canada’s most prominent contemporary choreographers including a seven-year tenure with Serge Bennathan’s Dancemakers.  He was internationally acclaimed for his performance in Bennathan’s Chronicles of a Simple Life. The New York Times dance critic Anna Kisselgoff called his performance “remarkably lyrical” and Clive Barnes of the New York Post wrote “…powerfully acted by the outstanding Gerry Trentham” and “Sensitivity, ingenuousness and curiosity…golden messenger of the divine…” – Graham Jackson, Toronto Lexicon.  He is honoured to be part of the elite cast of Denise Fujiwara’s newest work Eunioa, where beyond performing the work he acts as a voice and speech director.  Eunoia opened at World Stage in March 2014 and was nominated for three Toronto Dora Awards, one of which was a nomination for Outstanding Ensemble Performance. Six previous works in which he has originated roles have been nominated for and/or received Toronto Dora Awards. He recently premiered a new solo experiment b from the Apology Project Series at Artscape Youngplace in Toronto.

He recently co-directed, with Diane Roberts’ the Urban Ink production of Confession of the Other Women in Vancouver at Performance Works. He was in London UK this past fall, first for a reading of a new inter-arts work Dear Elephant written and performed with actor Olivia Olsen and then in Brighton to coach Ozcabaret’s new trio which opened in the Australian Fringe in February, 2013. Mr. Trentham has an MFA in Performance and a Graduate Voice Diploma from York University and has taught voice, movement and acting, directed and choreographed productions throughout Canada, the United States and Australia. As a core member of Canada’s National Voice Intensive over the last 20 years he has become one of only a few dance and movement educators whose expertise bridges deeply into voice and speech. He served on the inaugural board of CADA, on the original steering committee for Artists Health Centre in Toronto, was Chair of The Toronto Arts Council’s Dance Committee from 2008 – 2011 and has served on the Board of Directors at the Toronto Arts Council.


Thank you to Dancemakers for supporting this workshop.

Feb 6-10 | How to Fail, part Two with Alanna Kraaijeveld (MTL)

hyphy1How to Fail, part Two with Alanna Kraaijeveld (MTL)

February 6-10, 2017.

Dancemakers Centre for Creation, Studio 313
Costs: $75/week or $15 to drop-in
Discount opportunity: $70 for whole week with pre-registration by emailing Our prices include HST.


This workshop is for MOVERS with a physical practice!

How to Fail, part two: Alanna Kraaijeveld at the Love-in

Alanna Interviews herself in lieu of submitting a class description

A: Why are you teaching?

a: Connecting with other practitioners is important to me.  I am so curious about what other people are working on.  I want to know how their questions manifest, on the ‘manual labour’ end of things.  There is performance, yes, but what are artists studying on the day to day, in the studio?  Can we, literally, play off of one another in class, to nurture our development, our understanding of ourselves and of others, in a meaningful way?  Can this daily learning then cross over, inform and be in dialogue with the other things we do?  (We are all engaged in so much; this work in studio has to be about more than dance, being fit, excelling, performance, myself, you, etc. etc.)

A: What are you teaching?

a: I have a great curiosity for the work of Linda Kapetanea and Jozef Frucek, co-developers of Fighting Monkey movement research.  I have been travelling to study with them since March 2015.  The approach is full of contradictions:  the tasks give you immediate feedback about how you’re working, but it is clear that a practice of deeper work and understanding take time (years).  (I used to leave their workshops with boatloads of indications and ideas to apply to my training, but now I return home and work on one main thing for months before I see them again.)  The material is formless, but demands a great deal of specificity, and deliberate effort.  Speculation is given value; it somehow accelerates performance and outcome (it does not hinder or slow down).  There is much about imagination, and image, that emerge, but the work is also so concrete.  In short, a great complexity of things to contemplate and to respond to, offered in a most compelling, straightforward and accessible way.  

A: All right, but what will do in class?

a: With the above in mind, I propose material consisting largely of work in partners.  Task-based games that focus on:


  • Coordination – where does movement potential come from?  How is movement sustained (stamina)?  Adapted?
  • Time (hours, minutes, seconds) – what impacts our sense of time?
  • Our weight – how are we directing it?  Engaging it?
  • How do we notice these things as events fluctuate and change?  As our attention dilates and contracts?  


There is much emphasis throughout on ‘trial and error’ as an approach.  (Hence ‘How to Fail’ as the name for this series of classes.)

We will conclude each day with a phrase of movement.  Discussion (anecdotes, questions, etc.) will (likely) occur throughout.

A: If I am concerned about the maintenance of my physical fitness, and I do these classes instead of going to them gym / Pilates / yoga, have you got me covered for the daily sweat?

a: You know it.

End of interview.

Dancer, teacher and improviser, Alanna Kraaijeveld is interested in playfulness, endurance, timing and rigour. This season, she is working with Louise Bédard Danse, Dave St-Pierre, Justine A. Chambers and Marie Claire Forté. Her quixotic movement style, humour and adaptability have supported her in diverse projects, working with Susanna Hood to l’Opéra de Québec.  Alanna’s point of view is greatly inspired by her time as a member of the now defunct Le Groupe Dance Lab under the direction of Peter Boneham. Her study of movement and teaching is ongoing. She trains with Linda Kapetanea and Jozef Frucek, co-developers of Fighting Monkey movement research, and runs a weekly practice group in Montréal where she explores less traditional approaches to training.

Thank you to Dancemakers for supporting this workshop.