Who is Kaya Tsurumi in a sentence?
Kaya Tsurumi is a contemporary dancer, choreographer and dance filmmaker who was raised on Kwikwetlem First Nations Territory (Coquitlam, BC).

Tell us a bit about your work and practice.
When I move, I enjoy the feeling of the dance unravelling. I look for ways to make movement feel easeful and make sense for me, and I am particularly drawn to how improvisation activates my imagination and instincts. I’m inspired by practices such as Contact Improvisation, Feldenkrais, Butoh, Noguchi Taiso, and Countertechnique.

Choreography is an emerging practice of mine, which began through making dance films during the COVID lockdown. Through dance filmmaking, I developed my choreographic instincts primarily in the editing process. Although editing can be tedious, it offers the gift of repetition—returning to an image again and again, moving it through time until it lands in a world that feels right. This process has shaped the way I think about choreography, especially in my approach to rhythm, sense of time, and imagistic nuance.

How long have you been dancing?
I have been dancing since I was seven years old, beginning at Tri-City Dance Centre in Coquitlam. At 16, I was encouraged by my teacher to pursue ballet more seriously, which led me to train at École supérieure de ballet du Québec for a year before returning home. I continued my studies at Arts Umbrella and Modus Operandi, graduating from both post-secondary programs.

How does dance fit into your life currently – are there any upcoming projects you want to share with us?
Currently, I am choreographing a solo for 12 Minutes Max at The Dance Centre. I recently returned from living in Japan for six months, where I performed in a butoh project and studied Japanese. I believe that the places we go shape us significantly, and it was especially meaningful to spend time in Japan, where my maternal family is from. I am interested in how these experiences will inform this new work.

How would you describe dance’s impact on your life?
Growing up in dance, and continuing to practice regularly, I’ve spent years “in my body”. As a slow processor and a shy person, spending this time in movement, has supported my introspective self in finding expression and confidence.

Having opportunities to travel for dance, and meet dancers from around the world has given me a worldwide network of friends and expanded my openness to different perspectives. It inspires me to be a part of this interconnected community of passionate artists supporting one another.

What three core values drive your engagement with dance?
1. Lineage and Mastery – What keeps me going is the inspiration I gather from my peers, mentors, and artists I admire as masters of their craft. Lately, I’ve been reflecting on the idea of mastery itself, and how the pursuit of becoming a master of my dance is intertwined with self-realization. For this reason, in every part of my dance are little bits of myself – my sensitivity and carefulness, my family’s cultures I am revisiting and the curiosities that carry me through the world.

2. Self-Actualization – It is sometimes difficult for me to see the direct impact dance has on the world. However, I believe that striving for our passions and dreams supports us in being our best, extending outwards into how we interact with others and our environment.

3. Joy – I continue to dance because it brings me utmost joy!

Do you have a particular practice that you carry out each day or have you implemented new practices over these last few years?
Recently, I began a daily practice of writing “morning pages”. Morning pages is an exercise from The Artist’s Way by Julia Cameron, involving writing three pages of whatever comes to mind. I find that this helps me stay present and grounded, especially as my days are mostly self-directed.

What would you say are the most significant benefits for you in being a Dance Centre member?
I have benefitted from The Dance Centre’s programming such as the Reboot Grant, 12 Minutes Max program and access to various workshops at discounted membership rates.

Kaya’s Member Profile
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Interested in becoming a Dance Centre Member? Learn more here.
We support the development of dance in BC as a resource centre providing programs and services for dance professionals.

Photos by Ethan Volberg

The post Member Spotlight: Kaya Tsurumi appeared first on The Dance Centre.

Our Executive Director Mirna Zagar said: “I am so pleased that we are able to celebrate the accomplishments of two of BC’s most exciting and influential dance artists through these awards. The Dance Centre has been presenting awards for over twenty years as part of our mission to support BC’s dance sector and to recognize talent. Each year I am thrilled to see the depth and diversity of the artistry in our community. Congratulations, Ziyian and Alvin!”

The Awards

The Lola Award is designed to encourage the work of mid-career and senior choreographers. The biennial $10,000 award is supported by the Lola McLaughlin Endowment Fund with the Vancouver Foundation and administered by The Dance Centre. Since its initiation the award has been presented to Crystal Pite (2012), Lee Su-Feh (2014), Rosario Ancer (2016), Justine A. Chambers (2018), Paras Terezakis (2020) Helen Walkley (2022) and Company 605 (2024).

The annual Isadora Award, named after the dance pioneer Isadora Duncan (1878-1927), was instituted by The Dance Centre in 1999 to recognize the achievements of BC’s dance professionals. The recipient receives a specially-designed award created by renowned glass sculptor Mary Filer, studio/theatre space up to a value of $4000, and $1,000 cash. Previous recipients have included Crystal Pite, Wen Wei Wang, Jennifer Mascall, Gabrielle Martin and Jeremiah Hughes of Corporeal Imago, Margaret Grenier and Vanessa Goodman, amongst others. Recipients of both awards are chosen by juries of their peers.

The Artists

Ziyian Kwan 子嫣 (she/her) is a Hong Kong-born Chinese Filipina settler who lives on the ancestral, unceded, occupied territories of the xʷməθkwəy̓əm, Skwxwú7mesh, and Səl̓ílwətaɬ Nations. Ziyian began dancing professionally in 1989. She has interpreted over 100 original works by an eclectic array of artists and is recipient of The Dance Centre’s 2014 Isadora Award for excellence in performance. Ziyian began choreographing in 2013 and has authored fourteen full-length and many shorter works for presentations in Canada and Europe. In her creations that collage language and movement, Ziyian loves a raw and elegant edge, delights in peoples’ stories and seeks to express the meeting of eros and pathos through the minutiae of imagistic intelligence. Since 2015, as founding Artistic Director of Odd Meridian Arts, Ziyian has visioned, produced and secured funding for all of the organization’s programming, ranging from paid residences for 30 artists (and counting), three month-long festivals celebrating Asian artistry, plus commissions and presentations of many choreographers. In July 2020, Ziyian spearheaded Morrow, Odd Meridian’s cultural space.

Alvin Erasga Tolentino, a Filipino-Canadian, has been a prominent figure in contemporary dance for three decades, both in Canada and internationally.  As an arts maker, advocate, teacher, mentor, and community leader, he founded Co.ERASGA in 2000. This led to the creation of acclaimed 21 full-length works, including renowned pieces like SOLA, Bato/Stone, OrienTik/Portrait, Field, Paradise/Paradis, ADAMEVE-Man/Woman, Shadow Machine, EXpose, Colonial, Unwrapping Culture, Passages of Rhythms, Offering, and Accumulation.  Alvin’s body of work explores identity, gender, redress, migration and cross-cultural collaboration, reaching audiences across four continents.  His touring engagements and collaborations have taken him and Co.ERASGA to over 65 diverse cities in France, Belgium, Germany, Italy, Japan, Singapore, China, the Philippines, Venezuela, Thailand, Laos, Uruguay, and throughout Canada.  In 2010, he received the Vancouver Mayor’s Arts Award for his contributions to the performing arts in dance.  In 2018, he was honoured with the Pan Asian Award for Arts Contribution by EXploreAsian Vancouver. In 2025, he was named one of the outstanding Filipinos in Canada by filpino.net. Alvin continues to expand his cultural work both locally and globally, using dance as a powerful tool for empowerment, creativity, and social reflection.

Photos: Alvin Erasga Tolentino/Yasuhiro Okada; Ziyian Kwan/Luciana Photography

The post Announcing our BC Dance Awards Recipients appeared first on The Dance Centre.

This year the message is authored by BC and Vancouver’s own Crystal Pite: 

Humans move – our arms reach out, our knees collapse, our heads nod, our chests cave in, our backs arch, we jump, we shrug, we clench our fists, we pick each other up and push each other away. This is language as much as it is action. This is what the body has to say about need, defeat, courage, despair, desire, joy, ambivalence, frustration, love. These images flash with meaning in the mind because we have felt these things so purely in the body – we have been moved.  

We are dancers, all of us. Life moves us; life dances us. Ephemeral as breath, concrete as bone, a dance is made of us. We sculpt space. We write with our bodies in a wordless language that is deeply understood. We grace the space within and around us when we dance.   

Like life, a dance creates and destroys itself in every moment. Like love, it is beyond reason.   

I like to think of the body as a location; a place where being is held and shaped. When we dance, we are profoundly engaged in being there.  

I’m writing this in early 2026, when there seems to be no end to the oppression, upheaval and suffering in our world. Daily, as we witness the horror of what humans are capable of doing to each other and the machinery of power that funds and fuels unspeakable violence to people and planet, dance feels like a facile, useless response. It’s hard to imagine what a dance artist can do in a world that so badly needs radical change and healing.   

And yet – art, like hope, is a form of love. Defiantly generative in the face of desecration, art is a solvent for the calcifying mind and a balm to heal it. Art is a vessel to hold us while we grapple with questions – together – in a way that is different from news, different from documentary and education, different from opinion and social media, different from activism and protest, but not incompatible.  

Through creativity, we accumulate resistance and hope through small acts of courage, curiosity, kindness and collaboration. In dance, and in dance-making, we find proof that humanity is more than our latest heartbreaking global failure.  

But dance needs no justification, no explanation. It’s made of us yet owes us nothing. It only needs to inhabit a willing body. From that location, it can translate the ineffable; acting as an intermediary between us and the unknown.   

We are moved by these vanishing traces of beauty in the present moment. And as we embody both the dance and its disappearance, we are reminded of our impermanence. At the same time, if we are paying attention, dance will give us an occasional glimpse of the soul. 

— 

Canadian choreographer Crystal Pite is a former company member of Ballet British Columbia and William Forsythe’s Ballett Frankfurt. 

In a choreographic career spanning 35 years, Pite has created more than sixty works for companies such as The Royal Ballet, Nederlands Dans Theater, The Paris Opera Ballet, and The National Ballet of Canada. She is known for works that courageously address themes such as trauma, addiction, conflict, consciousness and mortality; her bold and original vision has earned her international acclaim and inspired an entire generation of dance artists. 

She is an Associate Artist at three institutions: Nederlands Dans Theater, Sadler’s Wells (London) and Canada’s National Arts Centre. She has an honorary Doctorate of Fine Arts from Simon Fraser University, is a Member of the Order of Canada and holds the honour of Officier de l’Ordre of Arts et des Lettres from France. 

In 2002, she formed Kidd Pivot in Vancouver, a company that strives to distill and translate universal questions into artworks that connect us to essential parts of humanity. World-renowned for radical hybrids of dance and theatre, Kidd Pivot tours internationally with critically-acclaimed works such as Betroffenheit, Revisor, and Assembly Hall (co-created with Jonathon Young), The Tempest Replica, Dark Matters, Lost Action, and The You Show. 

Pite’s many awards include the 2022 Governor General of Canada’s Performing Arts Award, the 2011 Jacob’s Pillow Dance Award and the Canada Council’s 2012 Jacqueline Lemieux Prize. In 2017, she received the Benois de la Danse for her creation The Seasons’ Canon at the Paris Opera Ballet. In 2018, she received the Grand Prix de la danse de Montr茅al. She is the recipient of five Sir Laurence Olivier awards for creations with Kidd Pivot and The Royal Ballet. 

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Read about The Dance Centre’s International Dance Day 2026 events.

Explore dance performances currently presented by The Dance Centre. Each season, you’ll find new dance shows. See what’s on today.

Photo: Anoush Abrar

The post A Message for International Dance Day 2026 appeared first on The Dance Centre.

Vancouver, BC – April 7, 2026: We are thrilled to announce that we have secured our home for dance in downtown Vancouver, with the successful $6 million purchase of the land beneath our beautiful facility at 677 Davie Street, acquired from leaseholder Scotiabank.  

This transformational milestone ensures that one of Canada’s flagship dance facilities will remain a vibrant creative hub into the future – a place where artists create, train, perform, and innovate, and where communities gather to experience the power of dance. 

At a time when cultural spaces across the country are under increasing pressure, this achievement protects a cornerstone of British Columbia’s arts infrastructure and secures a home for the province’s diverse and dynamic dance community. 

The purchase was made possible through fundraising by The Dance Centre and our sister society the Dance Foundation, with major support from the Government of Canada’s Canada Cultural Spaces Fund, the Province of British Columbia, and the City of Vancouver through its Making Space for Arts and Culture plan and grant program, alongside contributions from foundations and individual donors.  

It was officially announced today at an event attended by representatives from the federal, provincial and municipal governments, along with donors and artists. 

With the land secured, the building will now be known simply as The Dance Centre, reclaiming the name envisioned more than forty years ago when we first set out to create a dedicated home for dance in British Columbia.  

The Dance Foundation will now move into its next phase, fundraising for essential building upgrades, and an additional $1.5 million has already been raised toward this goal! 

We are deeply grateful to the Government of Canada, the Province of BC, the City of Vancouver, and the foundations and donors who have made this possible. 

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“Today marks a defining moment for dance in British Columbia. Since opening our building 25 years ago we have seen over two million visits, supported thousands of artists, and welcomed audiences of all ages and backgrounds. Securing this land ensures that artists will always have a purpose-built home to create and innovate. It is an extraordinary day for our community, and we look forward to strengthening the dance sector and enriching the community’s cultural life for decades to come.” 

-Mirna Zagar, Executive Director, The Dance Centre 

“As our land lease approached its end, the future of this building was uncertain. Securing the site was critical. This is not simply a real estate transaction – it is an investment in cultural infrastructure, community vitality, and long-term sustainability in a city where access to creative space is increasingly fragile. This purchase bolsters the revitalization of the Granville Entertainment District and affirms the essential role of arts and culture in building vibrant neighbourhoods. We are profoundly grateful to the Government of Canada, the Province of British Columbia, the City of Vancouver, and the many donors and partners who made this possible.” 

-Linda Blankstein, Chair of The Dance Foundation 

“As an artist who has spent many years creating and working in this community, this moment feels very meaningful to me. Space is essential for artists – it is where we train, experiment, collaborate, and bring ideas to life. The purchase of this land shows a real commitment to supporting artists and recognizing the value of dance and the arts in our society. Through my work with Wen Wei Dance, I have seen how important it is for artists to have places where creativity and community can grow together. This investment will have a lasting impact, giving dancers and choreographers the opportunity to develop their work and share it with the public. I believe this is an important step for the future of our dance community and for the next generation of artists who will continue to shape the cultural life of our city.”  

-Wen Wei Wang, Artistic Director of Wen Wei Dance and Dance Centre Board Director 

“The arts are a source of great pride, central to who we are and a key economic driver. By investing in The Dance Centre, we are securing the future of this vital cultural hub in Vancouver – ensuring artists, audiences and communities can continue to come together through the power of movement and creativity.” 

-The Honourable Marc Miller, Minister of Canadian Identity and Culture and Minister responsible for Official Languages 

“The Dance Centre has been a leader in B.C.’s dance community for decades. I am so glad to see that it will continue to be a hub for creativity and innovation for many years to come. We are so proud to support the many incredible artists who call British Columbia home and are committed to ensuring that artists have spaces where they can develop and share their work with the community.” 

-The Honourable Anne Kang, British Columbia’s Minister of Tourism, Arts, Culture and Sport 

“The City of Vancouver proudly congratulates The Dance Centre on this important milestone, securing a permanent home for dancers, cultural organizations, and community members of all ages. This inclusive, non-profit hub will continue to enrich downtown Vancouver for generations to come. Protecting and expanding affordable, accessible cultural spaces is vital to a thriving city. We’re proud to have supported the land acquisition that made this achievement possible.” 

-Ken Sim, Mayor, City of Vancouver 

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A National Leader in Dance 

The range of The Dance Centre’s programming is unparalleled in Canada. It encompasses artistic residencies and research labs, national and international exchanges, performances, showings, and community events, as well as the biennial Dance In Vancouver festival, which draws presenters from across the globe. 

We have pioneered Indigenous-focused residencies in Canada and, through our Power of Dance program, engage seniors, elementary and secondary students, and newcomer youth to expand access to the transformative experience of dance. 

Each season, our facility welcomes more than 87,000 visits and supports approximately 2,000 rehearsals, 800 classes and workshops, and 120 performances.  

With ownership secured, we will now focus on strengthening our future by: 

• Expanding studio rental subsidies for artists 

• Improving energy efficiency and environmental sustainability 

• Updating production technology 

• Enhancing public spaces 

Quick Facts 

• 1986: The Dance Centre was founded as British Columbia’s resource centre for dance, with the creation of a dedicated facility at the heart of its mission. 

• 1995: The Dance Foundation began fundraising to build the facility. 

• 2001: The building, designed by Arthur Erickson, opened at the corner of Davie and Granville Streets. Scotiabank leased the land for 29 years in exchange for naming rights. 

• The 32,000 sq. ft. facility includes six studios, a studio theatre/production space, boardroom, lounge, offices, rooftop patio, and additional amenities. 

The Dance Centre respectfully acknowledges that we work and dance on the traditional and unceded lands of the Coast Salish peoples, including the Squamish (Skwxwú7mesh Úxwumixw), Tsleil-Waututh (səlilwətaɬ), and Musqueam (xʷməθkʷəy̓əm) Nations, the original stewards and caretakers of these lands. 

Top Left: Front row L to R: City of Vancouver Councillor Lenny Zhou, Deputy Mayor Sarah Kirby-Yung, Councillor Lisa Dominato; Middle row Councillor Mike Klassen, Peter Meiszner, Dance Centre Executive Director Mirna Zagar, Dance Foundation Chair Linda Blankstein; Back row Councillor Sean Orr, Minister Marc Miller, Hedy Fry MP. Photo: Luciana Photography

Top Right: Ivan Hunter

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Who is Donna Redlick in a sentence?
Someone who is curious about dance and movement, and how it brings us in relationship to others and the world around us.

Tell us a bit about your work and practice.
I am a somatic-based dance artist, choreographer, and teacher, as well as a Registered Master Somatic Educator and Therapist. I am trained and certified in both Laban/ Bartenieff Movement Studies and Developmental Movement. My somatic-based dance classes, which I teach and offer at The Dance Centre, focus on the integration of body-mind through Laban/ Bartenieff concepts, in direct applications to dance. As a Somatic Movement Therapist I work one-on-one supporting individuals to find embodiment through movement repatterning.

As a choreographer I create and produce independent contemporary dance works, installations and films that are based on the subjective and lived experience.  I am interested in a philosophical and phenomenological approach to dance and create works from states of reflecting, being and becoming.

How long have you been dancing?
I began dancing 50 years ago and I have had a professional career in dance for almost 35 years. I think I gravitated towards dance as a child because it was a non-verbal form of communication. I was an extremely shy child and dance gave me a voice, a way to communicate and express beyond words.

How does dance fit into your life currently – are there any upcoming projects you want to share with us? 
I am currently engaged in a practice I call Moving Empathetically Together: In Dance. I am curious about how we come into relation to dance the space of the in-between, through attunement skills and kinesthetic empathy. Last summer I created an outdoor somatic-based dance piece called Relationscapes where we moved empathetically together in relation to nature and each other.  I proposed the question – What happens when we slow down, engage our senses, and work with the intention of deep listening to one another, with nature as our guide?  The work was presented as part of the Vine Arts Festival. I hope to return to development of this project again this summer. Stay tuned.

How would you describe dance’s impact on your life?
Dance has given me a voice. I was so shy as a child that I would literally hide in moments of intense shyness, yet at the same time I would observe what was going on around me. I would watch people in relationship. One of my favourite activities as a child was to spend time alone making small installations out of found objects. You could say this was the start of me becoming a choreographer. I have always been drawn to the relationship between things – both people and objects. To date I have choreographed over 100 works, in both community and professional settings. The act of exploring choreography and bringing dancers together in relation, takes me into a pure flow state. During this flow state I experience emergence, possibility and the unknown revealing itself.  I guess you could say that dance has offered me a way to experience the invisible – that which is real but cannot be seen, or what I might describe as the connective tissue that binds us together as humans at a universal level.

What three core values drive your engagement with dance? 
Empathy, Relationship, and Curiosity.

Do you have a particular practice that you carry out each day or have you implemented new practices over these last few years?
I have developed a somatic dance curriculum which I refer to as Somatic Dance Practice Method and I put this method into practice within my Soma Dance classes that I teach. One of the main principles, within my method of practice, is to foreground the sensing experience. Every day I make ‘a date with gravity’, I come down to the floor and begin my rolling practice. This practice requires me to weight sense in a reciprocal relationship with gravity. Through rolling I discover deep yielding and presence and this calms my nervous system, I let-go of thinking and I begin sensing.  Every Soma Dance class that I teach each week begins this same way.

What would you say are the most significant benefits for you in being a Dance Centre member?
I appreciate being able to rent studio space for classes, research, and creative process. I also love the different programs offered by the Dance Centre and I highly value belonging to a community. The E-Central Newsletter, sent out bi-weekly by The Dance Centre, keeps me informed and up to date on what is happening within the dance community at large. I am so grateful for all The Dance Centre has to offer.

Donna’s Member Profile
Website
Instagram

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Interested in becoming a Dance Centre Member? Learn more here.
We support the development of dance in BC as a resource centre providing programs and services for dance professionals.

Photos: Rui Nunes and Yvonne Chew

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How would you describe Chimerik 似不像 in a sentence?

We are an experimental interdisciplinary arts/performance company that merges movement, sound, media arts technology, and spirituality.

What was the artistic path that led you to building the company?

We began as a collective exploring the intersections of different art forms in ways that could inspire, provoke, and challenge contemporary culture and mindset. Over time, we solidified into a company while intentionally keeping that fluidity.

Sammy was deeply researching the origins of dance, including the ancient Chinese language of oracle bone script for Dance 舞, which depicts a shaman in ritual. Caroline was navigating lived experiences of altered perception and searching for ways to metabolize that through the body. We were both working across dance, sound, and new media, and kept encountering the same limitation. The work we wanted to create did not fit cleanly into one discipline.

Chimerik 似不像 became a container for that in-between space. We were drawn to the possibility that performance could be both sacred and contemporary, and that technology could exist alongside ritual without diminishing its depth.

What inspires the work the company creates?

We are inspired by states that are often misunderstood. Madness. Spiritual transmission. Diasporic memory. Cultural disappearance. Resilience. We are interested in grounding these themes in realism and lived experience rather than abstraction for its own sake.

We use technology in an organic and meaningful way, less as spectacle and more as an extension of the body’s energy. When technology becomes responsive and alive, it opens perceptual doors and invites audiences into embodied experience rather than distancing them from it.

Our connection to Taiwan also shapes our work. Many meaningful ritual traditions are disappearing under rapid modernization. Dance has always carried encoded sacred knowledge. We feel a responsibility to research, decode, and re-encode these transmissions so they can continue to live through contemporary bodies and reach new generations.

How would you describe dance’s impact on your life?

Dance has been both a survival and spiritual practice.

For Caroline, movement became a way to stay in the body when the mind fractured. It offered a way to process information without being consumed by it.

For Sammy, dance has been a devotional research practice. Studying ritual and embodied transmission expanded his understanding of choreography beyond composition into something relational and spiritual.

Dance has also shaped our partnership. We come from different cultural backgrounds, and that difference continually challenges and expands us. The work emerges from that tension, trust, and care.

What three core values drive your engagement with dance?

Embodiment. The body carries intelligence beyond cognition. We trust somatic knowledge.

Intercultural exchange. We believe in cross-pollination. Spiritualist mediumship in dialogue with Taiwanese shamanism. Technology meeting ritual. Contemporary dance meeting communities who may not see themselves reflected in it.

Radical care. Our processes include mental health awareness, ethical engagement with technology, and sustainable collaboration. The work may enter intense territory, but the container remains grounded in tenderness.

Any upcoming projects or news you can share with us?

Our newest project, SI(x), will have its world premiere at the Vancouver International Dance Festival March 13–15, 2026 at the Russian Hall. SI(x) opens an intimate window into the volatility and sanctity of Madness, where divergent ways of sensing and being illuminate the porousness between inner and outer worlds.

What would you say are the most significant benefits for you in being a Dance Centre member?

The Dance Centre is more than studio space. It is a cultural community hub.

For us, it keeps us connected. You see what others are working on, attend showings and performances, run into colleagues in the hallway, and stay in conversation beyond your own projects. That kind of exchange matters.

Because we work with immersive media and technology, it can be easy to become isolated in research. Being part of The Dance Centre keeps us rooted in the broader dance community and reminds us that the work is ultimately about people, not just innovation.

We are especially grateful for the Artist Residency Program and the opportunity to research and develop our productions in the Faris Theatre. That support was crucial to several past projects that later toured to Europe and Asia.

Chimerik 似不像 ‘s Member Profile
Chimerik 似不像 ‘s Website
Instagram
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Interested in becoming a Dance Centre Member? Learn more here.
We support the development of dance in BC as a resource centre providing programs and services for dance professionals.

Photos: Carla Alcántara and Sanya Ghaderi

The post Member Spotlight: Chimerik 似不像 appeared first on The Dance Centre.

Who is Palak Dhiman in a sentence?

Palak Dhiman is an independent kathak dance artist, choreographer, and educator who explores rhythm, storytelling, and embodied expression through the foundations of Indian classical dance.

Tell us a bit about your work and practice.

My work and practice emerge through the spirit of kathak, the classical storytelling dance form of northern India. Kathak is a holistic practice that integrates the mathematics of rhythm, physical conditioning, and emotional expression. Through this form, I continue to discover the body’s infinite potential for expression, connection, and communication.

My practice also involves understanding related art forms and how they interweave with one another. Advanced training in kathak is an ongoing, lifelong process, and I recently completed a course in Natya Shastra based movement, deepening my understanding of the ancient theoretical foundations that inform my dance form. Alongside this, I have studied the foundations of rhythm (taal vidya) and begun dhrupad vocal training  to better understand the principles of raga and its role in music, storytelling and expression. My work is driven by a desire to explore kathak through a personal lens, contributing my own perspective while remaining rooted in living-tradition.

How long have you been dancing?

My training in kathak began more than 30 years ago. Along the way, I’ve had opportunities to explore other movement forms, which have enriched my movement vocabulary and helped me understand my primary form more deeply. Throughout these explorations, kathak remained my constant. This long-term relationship has taught me the value of sustained learning and revealed the incredible depth, complexity, and variation within a single art form. Kathak is truly a discipline that a lifetime is not enough to fully explore.

How does dance fit into your life currently – are there any upcoming projects you want to share with us? 

It’s a dream come true to do this professionally and be able to say that I am an independent kathak dance artist. Right now I am involved in dance as an educator and currently teach in downtown Vancouver, New Westminster and Coquitlam. In addition I am keeping up my own practice and explorations of kathak with the guidance of my lifelong guru and mentor Usha Sharma (Winnipeg), while supplementing my knowledge by training in other art forms as well. My upcoming projects emerged organically through my more recent training in the last few years and involve experimenting with how Natya Shastra karana movements can be effectively blended with kathak, as well as also exploring how kathak as a movement form can be used to give physical expressions to the music of the dhrupad style.

How would you describe dance’s impact on your life?

Dance has helped me understand myself more deeply. It has shown me the power of discipline and consistency, as well as the experience of being fully immersed in something that can be both grounding and transporting. Dance has been a way for me to process emotions and develop my creative voice over time. It has had a profound impact on my mental health, and during the pandemic, my relationship with kathak deepened even further, becoming an anchor and a source of inspiration.

What three core values drive your engagement with dance? 

Integrity, Growth, and Uniqueness

Do you have a particular practice that you carry out each day or have you implemented new practices over these last few years?

My daily practice is about valuing consistency above all else. This includes beginning each day with yoga and meditation, and then delving into technical kathak training, rhythmic exploration, and reflection, along with vocal practice, reading, and listening. In recent years, I’ve also incorporated practices that support sustainability and slowing down, listening to my body, and allowing space for research and integration rather than only output.

What would you say are the most significant benefits for you in being a Dance Centre member?

The Dance Centre offers an important space where dance is centralized, and supported. Having access to a physical space that is home to diverse dance forms and active programming helps to promote connection, visibility, and artistic exchange, making it an invaluable resource for the dance community. As someone still fairly new to the Lower Mainland, The Dance Centre was one of the first places that I visited and has become a significant resource for me to develop my art in my new home city.

Palak’s Member Profile
Website
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Interested in becoming a Dance Centre Member? Learn more here.
We support the development of dance in BC as a resource centre providing programs and services for dance professionals.

Photos: FUZD Media

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How would you describe Dance//Novella in a sentence?
Dance//Novella is a contemporary dance company that explores the intersection of movement and meaning, transforming human experience into thoughtful, physical storytelling.

What was the artistic path that led you to building the company?
We (Racheal & Brandon) met while dancing with Ballet BC and connected over a shared curiosity about the edges of contemporary dance and how it could reach people more directly, speak to complex human experiences, and be built more equitably. Founding Dance//Novella was a natural evolution, a way to create from the ground up while blending our backgrounds in classical, theatrical, and experimental forms. We wanted to make work that feels personal, necessary, and alive within a structure centered on care, collaboration, and inclusion.

What inspires the work the company creates?
Our work often begins with questions about memory, identity, absurdity, and resilience. We draw inspiration from personal stories, surreal imagery, and the embodied wisdom of our collaborators. Increasingly, we explore intersections of dance, theatre, clowning, and sound design to expand the emotional range of performance. Our community, and our desire to reflect and honour it, remains our greatest source of motivation.

How would you describe dance’s impact on your life?
Dance gave us language when words weren’t enough. It shaped how we move through time, how we listen, and how we relate to each other. It taught us the balance between discipline and surrender and the beauty of vulnerability. Dance isn’t just our profession; it’s our way of being in the world.

What three core values drive your engagement with dance?
Curiosity – Staying open to experimentation, play, feedback, and not knowing, allowing the work to surprise us.

Authenticity – Creating work that is honest, felt, and rooted in lived experience and in the people who express it.

Methodology as a Path to Creativity – Treating process as an act of imagination. Each rehearsal is an ecosystem of rigor and risk, where structure bends toward discovery and accidents become choreography.

Any upcoming projects or news you can share with us?
We’re thrilled to share that Dance//Novella has been awarded a residency at Dance Victoria. During this time, Co-Artistic Director Brandon Lee Alley will develop his new solo work So to Speak, a poetic fusion of clowning, physical theatre, and original text. Through humor, heart, and a touch of absurdity, the piece explores the art of waiting and the emotional echoes that ripple through daily life.

In January 2026, our celebrated Emerging Artist Program returns in collaboration with The Polygon Gallery and The Dance Centre, providing mentorship, creation support, and performance opportunities for ten early-career dance artists.

Save the date: Jan 29th, 2026 at The Polygon Gallery.

What would you say are the most significant benefits of being a Dance Centre member?
The Dance Centre has been foundational to our growth. From rehearsal space to residencies and production support, it has provided both the practical infrastructure and the artistic community we need to thrive. Presenting work through its programs has helped us reach new audiences, connect with peers, and grow as artists. It’s a place where we feel seen and where our work has evolved in meaningful ways.

Dance//Novella’s Member Profile
Dance//Novella’s Website
Dance//Novella’s Instagram
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Interested in becoming a Dance Centre Member? Learn more here.
We support the development of dance in BC as a resource centre providing programs and services for dance professionals.

Photos: David Cooper

The post Member Spotlight: Dance//Novella appeared first on The Dance Centre.

How would you describe Chichak Performing Arts Company in a sentence?

AA: Chichak Performing Arts is an Azerbaijani Contemporary dance company dedicated to community-building, using the rich cultural heritage of Azerbaijani and Caucasus mountain music to educate, empower, and celebrate our heritage.

What was the artistic path that led to creating the company?
SR: I started training in Azerbaijani folk dance at the age of 8 in Iran. At that time we did not have a major platform to perform dance on stages and public in Iran as it was illegal. When I moved to Canada at the age of 13, I saw how dance is valued as an art form and I got to share this beautiful folk dance on stages and in the public – something I could never do in Iran in my childhood. That inspired me to start teaching and performing in Canada. Seeing the increased support in the community, I formally founded the group in 2009. It was delightful to have Asal join in 2011. We slowly grew and took on more projects. However, we always operated in part-time capacity as this was a passion project for all company members and directors.

AA:  It was the perfect opportunity for me to join the company, train together, and connect with my cultural roots through dance. Over time, I found that Chichak Performing Arts became a way for us to nurture our community through movement and storytelling.

What inspires the work the company creates?
AA: Our work is deeply inspired by our ancestral cultures, specifically the traditional music, songs, and movements of the Azerbaijani people. We are driven by a desire to preserve and share these traditions, not only for their beauty but also for their power to foster connection and understanding in our community.

How long have you been dancing?
AA: I’ve been dancing since I was 13 years old.

SR: I have been dancing since I was 8 years old – it is almost 27 years

How does dance fit into your life currently?
AA: Dance is an essential part of my everyday routine. It has been a constant source of strength and solace, especially during challenging moments in my life. I took a long break during the pandemic, but I found my way back by starting a daily dance challenge with Shalaleh.  Since then, the daily dance practice has become a cornerstone of my life. It has shaped my identity as a woman, mother, and artist, giving me a sense of purpose and balance.

SR: Dance has been such a constant in my life. Dance has never been my main career path but it has been what has shaped how I think about my life choices, challenges, and how I approach my current career path as an engineer and researcher examining how autonomous technology impacts our lives. I absolutely love and admire how dance makes me feel connected to myself and others in a way that is authentic, real and irreplaceable.

How would you describe dance’s impact on your life?
AA: Dance has been a transformative force in my life. It has provided me with an outlet to express myself, whether during difficult times or moments of joy. Dance has impacted my decision-making, helping me find clarity, unwind, and even process grief. It’s a continuous journey of self-discovery and healing, and I am grateful for its profound role in my life.

What three core values drive your engagement with dance?

AA: Community Building – Dance connects us, helps us share experiences, and fosters belonging. Creative Process – I thrive in the creative process, which allows me to explore and express my emotions and ideas through movement. Musicality – Music is the heart of everything I do. The rhythms and melodies drive my movements, guiding and inspiring my choreography.

SR: I agree and resonate with all the values that Asal has said – especially the first two! Authenticity – For me dance is a place of authenticity. It is a place where we can bring our entire self, share and invite others to be fully present. To me it is critical to maintain that authenticity and to create from there as a starting point. Culture and tradition – We perform and teach folk dance which has a rich history. I often think about how our moves represent years of tradition, and culture. Every step we take is a step that some others have taken in the past and that is something that feels so empowering – it also brings a huge sense of responsibility.

Do you have a particular practice that you carry out each day or have you implemented new practices over these last few years?
AA: Since 2021, I’ve been part of a daily dance challenge with Shalaleh. This practice has allowed me to explore new music, try new styles, and embrace the bravery of experimenting with various dance disciplines, all through the lens of Azerbaijani culture. This challenge has become an essential part of my personal growth as a dancer, helping me remain disciplined and inspired.

SR: I completely agree with Asal on this one and that is exactly how I feel.

What would you say are the most significant benefits for you in being a Dance Centre member?
AA: The Dance Centre holds a special place in my heart. It’s more than just a studio; it’s my home and my refuge. Being a part of this community makes me feel included, safe, and valued. The sense of belonging I experience at The Dance Centre allows me to express myself freely and connect with others who share my passion. Over the years, I have built incredible connections and friendships with amazing artists and dancers, which has enriched my journey both personally and professionally. The Dance Centre has also provided me with numerous opportunities to learn, attend workshops, and stay updated on events and developments within the building. It’s truly a place where I can grow, collaborate, and continue to evolve as an artist, and I’m deeply grateful for all the experiences it offers.

SR: Our company has had such a long standing and meaningful relationship with The Dance Centre. We have been teaching classes and rehearsing for performances at the center before and after the pandemic. It is incredible to have a place where dancers from around the world and from all backgrounds are welcomed and seen. This is incredibly rare and I feel grateful that we have this space where we can express ourselves and also learn from other incredible artists.

Chichak Dance Group Member Profile
Chichak’s Instagram

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Interested in becoming a Dance Centre Member? Learn more here.
We support the development of dance in BC as a resource centre providing programs and services for dance professionals.

Photos: Carla Alcántara

The post Member Spotlight: Asal Ahadi & Shalaleh Rismani | Chichak Performing Arts Company appeared first on The Dance Centre.

Who is Krystal Tsai in a sentence?
A sensual, open-hearted being that is conscientious and driven in life.

Tell us a bit about your work and practice.
My work in this early stage of my career is deeply related to my status as a young immigrant, my relationship with my hometown (Taiwan), and my religious beliefs. I have been exploring defying what “home” means to myself for the past two years in my work. What are the lingering connections I can grasp while choosing to study and pursue a career abroad? How can I sort through the experience of constant relocation and other living moments to learn about my relationship with my hometown? Attempting to answer this impossible question of what/where/when is “home” through movements, spoken words, play and many other elements in my work.

My practice has been heavily influenced by Contact Improvisation and many somatic and sensation-focused techniques. I’m often drawn towards techniques that connect and challenge my mind, nervous system and the relationship of them all.

How long have you been dancing?
Growing up dancing in school clubs, then started to train intensively in 2013.

How does dance fit into your life currently – are there any upcoming projects you want to share with us? 
Dance feels like a breath of fresh air and a source of fuel currently. It’s something my body naturally craves, being in a stage of life that is filled with changes in every corner, dance never fails to ground and recuperate the connection between my body and mind. No performance lined up at the moment, as I have been immersed in the administrative work after coming to a pause on a six-month creative process.

How would you describe dance’s impact on your life?
Dance has been that one thing where I find struggle alongside intangible bliss. Since I started dancing, I’ve been on a continuous journey of discovering my identity. Dance showed me the strength and resilience I didn’t know I was capable of. The countless relationships that blossom through this practice are also something I hold close to heart. Dance for me is a self-discovering and soul-fulfilling art form/lifestyle.

What three core values drive your engagement with dance? 
Connection, resilience and unfolding.

Do you have a particular practice that you carry out each day or have you implemented new practices over these last few years?
I found journaling and practicing improvisation in the form of writing have been keeping me grounded. When the mind is overcrowded, a lot of my craving for dance and creation gets shadowed by other daily tasks. I find that consistent journaling acknowledges my needs and gives me back the control of agency in both dance and life.

What would you say are the most significant benefits for you in being a Dance Centre member?
As a Dance Centre member, I had access to the monthly email that contains community calls for art-related opportunities. The most significant support is the residency program and resources that are not limited to local artists. As I encounter challenges in finding resources due to my status, The Dance Centre has been one of the few places that offer support for all. Being a part of The Dance Centre has nurtured my artistry in entering the dance community in Vancouver.

Krystal’s Member Profile
Krystal’s Website
Krystal’s Instagram
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Interested in becoming a Dance Centre Member? Learn more here.
We support the development of dance in BC as a resource centre providing programs and services for dance professionals.

Photos: Albert Normandin

The post Member Spotlight: Krystal Tsai appeared first on The Dance Centre.