This page is dedicated to works of dance: experiments, past choreography, current projects, and so on.
Playing with partner work, contact improvisation, and lifts at the Ontario Regional Contact Jam 2016, at the Canadian National Ballet School.
Contact improvisation is a fascinating form of dance! One of the fascinating things about it is how to communicate non-verbally with your improv partner, especially while you are in a dance form that is very free and flexible. Non-verbal communication with a partner in ballet, for instance, is completely different, as the signals and cues are based in the ballet syllabus and therefore more predictable, but with less opportunity for originality and innovation, or creation of completely new movement. I am very interested in blending this style with modern, contemporary, and ballet dance styles. This is a short snapshot from the Ontario Regional Contact Jam 2016, which was a fantastic event full of different workshops related to contact improv. The workshop on lifts was a personal favorite, taught by Camille Schmiedel. Dancers: Alina Sotskova, Camille Schmiedel.
"Persistence of Identity," Original contemporary dance work presented at Flux Dance Festival 2015.
To find out more about the themes that inspired this work, read the post about it in the blog section. To find out more about the Flux Contemporary Dance Festival, check out some their website; you can also see some still shots from the festival in the Events section.
Contemporary Dance Improvisation to "Hurt" by Johny Cash.
I was really inspired by this song and decided to do a bit of improvisation as I continue working on set choreography for this. The video is a bit blurry and this is entirely improvised. However, I think it is important to share what the raw video looks like from the creative process of choreography. When dancers and choreographers are working in the studio, the process is very different from the final, polished product. In my opinion, both are interesting: the final work itself and the creative process out of which this product emerged. So this is unedited, uncut, without any fancy filters, and this has not been rehearsed. This is an example of how movements and phrases emerge in my specific choreography process. Another purpose in sharing this is to challenge the standards for perfectionism in dance, art, and body image. Not every movement, video, or photograph that artists and dancers produce are perfect and I believe that showing the human imperfections within ourselves in this photoshopped world is an important task.
Ghosts of Rorschach Opening Night Performances
This is a completely improvised duet, performed by Dyana Sonik-Henderson, Artistic Director of Broken Rhythms, and Alina Sotskova.
This performance took place on the opening night of Ghosts of Rorschach, a photography/art series by Alina Sotskova & Ian Sparks, which explored the idea of creating Rorschach ink blots from dancers' bodies. This duet is influenced by the concept of applying the Rorschach blot symmetry and the fluidity of ink to contemporary dance. You can find the Ghosts of Rorschach series in this section of the website.
Broken Rhythms also performed an excerpt from their latest work, Seven, which is based on the seven stages of grief. In 2015, Seven is touring at the Edmonton Fringe Festival.
"Ink," choreographed by Dyana Sonik-Henderson, Artistic Director of Broken Rhythms, a Victoria-based dance company with a unique rhythmical contemporary style of dance. This piece was performed on the opening night as well and is influenced by the experiences that Broken Rhythms dancers had while collaborating on the original Ghosts of Rorschach photography. In this collaborative work, the choreography, by Dyana Sonik-Henderson, was based on the dance "sculptures" I created during the Ghosts of Rorschach photoshoot. See if you can spot them!