Final flowchart of the season!

Thursday, February 15 | 8 pm

With Marisa Hoicka, Barbara Lindenberg/Allison Peacock, & Aisha Sasha John

Image: (left to right) Marisa Hoicka, photo by Dan Epstein; Barbara Lindenberg and Allison Peacock, photo by John Lauener; Aisha Sasha John, photo by Yuula Benivolski

Image: (left to right) Marisa Hoicka, photo by Dan Epstein; Barbara Lindenberg and Allison Peacock, photo by John Lauener; Aisha Sasha John, photo by Yuula Benivolski


Dancemakers: Marisa, I have a really specific question! In a work I saw you make at TDT during their "Singular Bodies" program, there was a section in which some music and party sounds came from offstage - I was struck by your use of the outside/offstage space as a space where something could be happening, instead of the way we work in theatres typically as trying to create some sort of hermetically sealed box of disbelief. Could you talk a bit about this choice, and how it relates to the way you think about theatres?
Marisa: I work with many different mediums. I create multiple entry points for the audience and question the constructs of the mediums themself. As a painter, elements of a narrative often go outside the canvas which allows viewers to imagine something greater than the space they see within the frame. Simply suggesting something incents viewers to fill in the blank. I also use sound to change perceptions of space. My background in installation makes me look at all elements of a space. Working with the Toronto Dance Theatre’s stage I was thinking about how to integrate the floor, the ceiling, the audience, the space onstage and offstage. Working with video, adding sound can change the idea of a space. In “Party Next Door” with Yuichiro Inoue, I was curious if I could make a visual appear in the audience’s mind by using sound. I wanted to make the audience feel like anything can appear in this work from anywhere, that the boundaries start to dissolve. I want the viewer to start filling in the blanks and allowing their minds to leave the “frame” to question how far the work can go?

Dancemakers: Barb and Allison, Have you worked together many times before? And also, in this particular process, are there any similarities in your practices that you noticed for the first time?
Barb: We have worked together a few times in the past. We’ve danced in each other’s work and have been in conversation about dance and other interests for many years. We have a flow of sharing research, ideas, videos. Through the process of creating Flourishing we discovered a shared perception of choreography as applied philosophy. Our paths as choreographers overlap and diverge. Allison is invested in the experimental invocations of dance and I tend to focus on concepts and contexts surrounding presentation and expression. We’re both very attracted to clear, simple aesthetics and to Bob Fosse moves.
Allison: Barb and I have worked together in many capacities, including working together in the myriad of roles that artists hold when they are creating, performing, self-producing, being an audience member and working side jobs. Flourishing is a product of a friendship and artistic dialogue over at least 10 years, and is also a snapshot of what was pertinent to our collaboration at the moment we made the work. I deeply admire Barb, and her artistry, and hoped that this project would give me some insights on how she builds her dances. I was often surprised that my impression of her previous processes did not match the actuality, and this led to some deep discussion in our rehearsals about the nature of improvised and rehearsed dance performances. Personally, I am not very interested in the notion of having a personal process--a singular way of doing things that stamps an authorial voice. The challenging and interesting parts of a collaborative choreographic process are the things that unfold through the shared commitment of developing a work. We held this shared intention and also a commitment to perform what we developed together.

Dancemakers: Aisha, your practice moves really fluidly between movement and poetry, presence of the body and of the written word. Could you talk about the relationship between these two mediums in your practice? I guess what I'm also asking is: where does poetry end and dance begin (or vice versa)?
Aisha: They’re simultaneous and inseparable. I'd liken dance to water and poetry to food. Both are rhythm practices. In one way I think of dancing Aisha as a musician whose instrument is air. (I think that's why my hands are so prominent in my work.) Anyway, shape is important to me. Arrangement is emotional. Of course I came up with the concept of being an air-playing musician through writing. (There's a poem about it in THOU). So they are one—but also distinct and braided: the more precisely I can articulate what it is I am doing when I dance, the better the dancing is. So these practices nourish each other. But really I am interested in freedom. And I need to pray.


Dancemakers Centre for Creation

9 Trinity Street | Theatre Studio 313

Toronto's Distillery Historic District


Chose to pay $5, $10, $15, $20 or $25! 

At the door: Box office opens at 7:15 pm



Flowchart presents short works by artists engaging with the choreographic from the perspective of multiple fields; work which pays attention to organizing movement in space and having it be affected by/also itself affect time. By contextualizing non-dance works within the choreographic, an engagement with these ideas becomes newly visible. Flowchart is interested in works that centralize the body and offers a curiosity about what happens to non-dance works when they are presented in the scope of a field that inevitably does so.

With three presentations this season, to date this we've seen work by Meryem Alaoui (in collaboration with Sahara Morimoto & Germaine Liu); Katie Ward (in collaboration with Katie Ewald); jes sachse; William Ellis; Francesca Chudnoff; and Justin de

Dancemakers' Pay-What-You-Can performances are supported by

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2017-18 Flowchart Series Media Sponsor: