I'll be in your town JULY 24-26TH 2018 to teach a 3-class Advanced Level series at DJD.  7:30-9pm, Tuesday, Wednesday & Thursday.

    You can SIGN UP for these classes HERE.


    “In this highly physical and fast-moving class we will engage in a dynamic warm up infused with yoga/dynamic stretching and placing ourselves on all fours to warm the body and focus the mind. We’ll move across the floor with various techniques to take us in and out of the floor, focused on building core strength and stamina. We’ll build to more footwork based travelling sequences; contemporary and animalistic jumps and maneuvers with a focus on head/tail awareness and use of spine for sequential movement. We’ll continue building to a larger phrase work that challenges the body’s balance, dynamics, spatial use and inverse positions. Over the course of three days we may also engage in improvisation practice, partnering improvisations and sequences. Be prepared to sweat lots, and consider wearing clothing that covers the skin as well as knee pads to protect in anticipation of floor work.”


    Casting dancers for performance at New Blue Festival June 7, 2018 in Toronto, Canada.

    Seeking 2-3 dancers (male or female) for a physical contemporary work (remount). Dancers must have strong physical ability, unique movement profile, proficiency in partnering, and floorwork. Dancers must be available for majority of rehearsals, see below. Offering an honourarium of $200 for this process. The rehearsals will take place either at Artist's Play or City Dance Corps. Due to tight time frame, we are unable to audition so please submit by sending:

    - max 3 video clips

    - resume 

    - letters of recommendation (optional)

    - Any conflicts with schedule

     Email by 5pm on Wednesday April 25th, 2018.

    Rehearsal Schedule:

    Tuesday May 1st

    Thursday May 3rd

    Monday May 7th

    Thursday May 10th

    Tuesday May 15th

    Thursday May 17th

    Tuesday May 22nd

    Tuesday May 29th

    TECH rehearsal Monday June 4 1.5 hours between 7-10pm, exact time pending.

    Performance Thursday June 7, 2018 between 7-9pm.

    Thank you.



    Photo: Dedra McDermott, Sebastian Hirtenstein, Miyeko Ferguson and Emily Spearing in 33/33. 

    Photo by E.S. Cheah Photography

    Take any line and cross it with another. That spot, the point of intersection, is the most
    interesting place on any line: the location where it collided with another. Kylie Thompson’s new
    work, 33/33, centers around the geometric elements of movement. From Simon Clemo’s
    projections straight through to Stephanie Orlando’s musical composition and Simon Clemo’s
    lighting design, the work focusses wholly on points, lines, shapes, and numbers. And, through
    the carving and circling, cracking and cutting movement, the end shape reverberates as a
    meaningful portrayal of how people, like lines, are most interesting when they collide.
    The shape of the work itself could be described as a circle. The sound of a billowing ocean
    wave opens the piece, the lights revealing seven dancers onstage: four females—Miyeko
    Ferguson, Dedra Mcdemott, Alyssa Petrolo, and Emily Spearing—surrounding three
    males—Sebastian “Bash” Hirtenstein, Gavin Law, and Darian Mark. Standing downstage on the
    left, McDermott begins, paralleling the sounds of the ocean in her movements, arms flowing
    around her body like waves rushing over the sand. Then, like waves breaking apart, her
    movements open, cracking apart with a pressing weight. Eventually, the movement is passed
    around the outer circle, while the three male dancers in the center move slowly. Each move
    towards a shape without ever stopping, transforming like Greek statues from one softened pose
    to another.

    A shift in the music, from waves to chimes, causes a shift in the movement: limbs become
    swifter and more defined, the dancers themselves becoming more acrobatic and dynamic. Solid
    lines form and then break apart, the dancers are spun, swung or pulled outwards. At one point,
    five dancers watch one, ignoring another. The other, McDermott, casts herself on a downstage
    diagonal, her movements jerky, her body constantly pulled to the floor. The group eventually
    turns to her, pulls her up, and then lets her down, caught in a constant cycle of giving and taking,
    then pulling and throwing.

    In a moment alone, Hirtenstein commands the stage. Beginning with bird-like actions, his
    nose guides his way and, like a pen tip curving on a page, he decorates the air. As the section
    continues, he fills his lungs as though on guard, his eyes waiting for another movement to flitter
    across the stage. His movements continue to captivate, as he jerks and twists his body,
    articulating his limbs with precision, his body terse with potential. Another dancer, Petrolo, joins
    him, their duet morphing into a mutual challenge, as the waves bring us back full circle to the

    Then, instead of ending with a perfect circle, Thompson pierces a line through her work,
    bring the dancers back on stage, one by one, for a numerical face off. The dancers call out
    numbers, rolling at seemingly random intervals until the last dancer arrives onstage and calls out
    the number eight. In a breath, all the dancers roll and the piece ends, without decisive resolution.
    By cutting the work open at the end, Thompson changes the entirety of the work. Just as a
    painter draws a line through a fully formed shape to change our perspective, Thompson gives the
    audience symmetry and then draws a line through it, not wiping it out, but changing its essential
    meaning. After all, the place of intersection—the point where lines and lives collide—is where
    everything changes.


  • Toronto Dance Teacher Expo 2017

    Toronto Dance Teacher Expo 2017


    To those of you out there who attended my workshops yesterday at the TDTE - Thank you.  It was a challenge but yet a pleasure to share my work with you all.  Thank you to those who have reached out to me personally with thanks.  I wanted to share some notes from my Improvisation class that may help. 

    I hope you continue or begin to, teach improvisation to your students.  They'll learn to express freely through dance, become more confident in themselves as dancers and as individuals, and perhaps start on a road towards becoming choreographers themselves.  How cool is that?

    PS - for those asking about my music - find me on Spotify as Kylie Thompson.. you'll see my Expo playlists there! :)

    Thanks again! See notes below :)

    Toronto Dance Teacher Expo - "Engaging the Creative Dancer - Improvisation" NOTES

  • New Creation to be presented at the New Blue Emerging Dance Festival

    New Creation to be presented at the New Blue Emerging Dance Festival

    I am very excited to annouce that I've begun work on a duet work for the upcoming New Blue Festival.  This duet features Derick Robinson (@derickxclusiv) and Alyssa Petrolo (@alyssapetrolo) alongside an original musical composition by local composer Stephanie Orlando.  Versus is what I might call a "reduction" from my research with The Garage, back in Fall of 2015; it was originally researched and mounted on a group of 4 dancers.  We are early in the process, but I can't wait to see what we create, and to share it with the Toronto Dance Community.  #TheFestival17 runs from June 13-17, 2017.



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