Dancing Invisible
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How a session actually runs

Nothing here starts with a warm-up at the barre. The order below is the order we keep in Toronto, Montreal and the online rooms, whether you drop in once or stay for a six-week block.

Land on the floor first

The opening stretch of every contemporary class happens on the ground. You roll through the spine, give your weight to the floor and find the small hinges in hips and shoulders that standing positions hide. Release technique treats the floor as a partner, not a surface, and the sprung floors in the rented studios make that contact softer on knees and wrists. Beginners tend to find this part easier than they feared.

Follow the breath into weight transfer

Once the body is awake, the work shifts to moving weight from one point of contact to another without bracing. Breath sets the timing. You learn to fall a little and catch yourself, then fall again with less effort. This is where somatic awareness stops being an idea and becomes something you can feel in the ribs, the pelvis and the soles of the feet.

Add a partner, slowly

Partnering and contact improvisation come next, and they arrive quietly. Before any lifting there is an agreement to say no, a slow lean, a shared centre of gravity. Working choreographers guide the duets, but the material comes from what two bodies actually negotiate in the room. No prior duet experience is needed, and no performance background either.

Open the improvisation lab

Structured improvisation closes most sessions. A score is set, sometimes a single instruction, sometimes a constraint about space or time, and the group moves inside it. This is the part that changes most between a drop-in and a six-week block: with the same people returning, the scores get longer and the choices get stranger, in a good way.

Show the work, informally

Six-week blocks end in an informal showing for friends and local artists. It is not a performance season and there is no audition to reach it. The room is the same rented studio, the lights stay on, and the audience sits close. What you show is the practice you built over those weeks, including the falls that did not land cleanly.

What you can join

Three ways in, and the work behind them

See class formats

Weekly contemporary classes

Floorwork and release technique open most sessions, because weight and breath are easier to find close to the ground. From there the class moves into standing phrases, weight transfer and simple travelling. Working choreographers teach in rented studios with sprung floors in Toronto and Montreal, and the online sessions follow the same structure at a slower pace.

Contact improvisation jams

Weekend jams for adults who want to share weight without choreography. We start with a circle, an agreement that anyone can decline a duet, and a long, quiet warm-up before any lifting happens. Strength helps, but listening helps more. No partnering history is needed, and falling down is part of the vocabulary rather than a mistake.

Somatic practice and breath

Short guided work that slows the room down: sensing the spine, the hip hinges, the underside of the feet. It runs inside the weekly classes and as its own block for dancers recovering from a break, carrying old habits, or simply wanting to move with less effort. Useful before partnering, and useful on its own.

Improvisation labs

Structured scores rather than free-for-all dancing. We set a constraint, work inside it, then talk about what happened. The labs are where the six-week block deepens, since the same group returns and the informal showing at the end gives the material somewhere to land. Friends and local artists are invited to that showing.

Weekend intensives

Longer sessions that hold one thread across two days, usually partnering, floorwork or movement research. They suit dancers who already know they want the time, and they are also a reasonable first step if a weekly slot does not fit your week. No audition, no performance background, no expectation that you arrive trained.

Three ways to join the practice

You do not have to commit to a season to start moving. Most people arrive through a single session, then decide how much rhythm they want. The formats below differ in how often you return, how much a theme can build, and whether the work ends in front of other people.

Drop-in session

One visit

Come once, on any week that suits you. A drop-in puts you in the room with whoever is already there, so you meet the teaching, the floor and the pace before deciding anything else. Expect a full class: floorwork to open, breath and weight transfer, then either release technique or a short improvisation score. It is the honest way to find out whether this practice fits your body right now.

Best for: testing the room, irregular weeks, travelling dancers.

Ask about a drop-in

Five-class card

Flexible

Five sessions you use at your own pace, across weekly contemporary classes and contact improvisation jams in Toronto, Montreal or online. Nothing is scheduled for you and no theme is locked in, which means you can follow what your body needs that month rather than a fixed syllabus. Regulars often use a card to keep one foot in the studio while work or travel pulls them elsewhere.

Best for: building a habit without a fixed end date.

See the programme areas

Six-week block

Group

The same group returns each week, so partnering, somatic awareness and structured improvisation have time to deepen instead of restarting. The block closes with an informal showing for friends and local artists, held in the studio rather than a theatre. No audition and no performance background are required. If you have never performed, the showing is simply a room of people watching you move, with no lights and no tickets.

Best for: dancers who want the work to accumulate.

Ask about the next block

Not sure which one fits? Write to us with the weeks you can realistically attend, and we will tell you plainly which format makes sense and which one does not.

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