Fall for Dance North – AFROFUSION: 2025 Signature Program 1
Co-presented with TO Live
Now in its 11th season, Fall for Dance North returns to celebrate the power of dance with performances in more intimate venues and a streamlined offering of companies. Fortunately, the new artistic leadership has steered clear of last year’s somewhat uninspired programming, instead curating a vibrant and internationally diverse selection that had their opening night audience cheering with delight.
Toronto’s premier international dance festival continues to showcase exceptional talent and artistry from around the world. Each year, I look forward to discovering which companies will be featured. After last year’s shift to a smaller venue—the 1,200-seat Chrysalis Creative School Theatre at Toronto Metropolitan University, down from the 3,100 seats of their former home at Meridian Hall—I was worried the move signalled a decline. With this year’s performances held in the even smaller 838-seat Bluma Appel Theatre, and the evening’s lineup again featuring only three companies, I couldn’t help but question whether the festival is facing deeper challenges.
I’m thrilled to report that, under the inspiring new leadership of Artistic Director Robert Binet and Festival Director Lily Sutherland, FFDN feels more vibrant and visionary than ever. Their bold artistic direction has redefined the festival’s passion for celebrating international dancers and choreographers who are not just participating in the art form — they’re redefining it.
Co-curated by FFDN’s Artist-In-Residence Esie Mensah, this year’s AFROFUSION is soulful, joyous, and bursting with energy. Three leading dance companies with artists of the African diaspora take centre stage, joined by performers and musicians from London, New York, and Toronto. Blending Contemporary, Street, West African, Jazz, Salsa, and more, the program delivers an electrifying fusion of movement and culture. It’s a powerful celebration of identity, rhythm, and global Black excellence.
Opening the evening and making his Canadian debut, the UK’s Dickson Mbi Company presented Duende, a solo work choreographed and performed by Dickson Mbi. Described in the program as an exploration of “stepping in and out of the light of reality,” this piece leaned more toward a haunting study of movement and mood than a conventional dance narrative.
Clad only in white linen pants, Mbi’s extraordinary strength and physical control was on full display—each isolated muscle movement deliberate and mesmerizing. The performance unfolded in a series of writhing, gestural phrases, much of it grounded in floor work, evoking a sense of both concealment and revelation. At times, the abstraction made it difficult to emotionally connect, but the intensity was certainly palpable.
Composer Roger Goula’s droning, atonal score added to the tension, sometimes to the point of discomfort, amplifying the piece’s ambiguity. In contrast, Fabiana Piccioli’s striking lighting design—with stark spotlights and lines of illumination—created dramatic contrasts that reinforced the central themes of light, shadow, and the psyche.
While the full significance of Duende may remain elusive, its atmosphere, physicality, and daring made it a compelling—if challenging—start to the program.
Following a brief pause, the world premiere of ESHI—meaning water in the Ewe language—unfolded with quiet intensity. Performed by Esie Mensah Creations and students from Canada’s National Ballet School’s Company Life Program, the piece explored the nuanced journey of grief with fluid, deeply expressive movement.
Four soloists entered from the corners of the stage, hinting at loss and communal support. Soon joined by 15 dancers, the stage filled with beautifully orchestrated ensemble work, as Mensah’s choreography flows like water—shifting from organized chaos to serene order. The dancers’ precision and commitment were breathtaking, delivering complex sequences with grace and emotional depth.
Live on-stage vocals by Joanna Majoko and percussion by Yohance Parsons—partially hidden in shadow—added richness to the atmosphere. At the same time, Simon Rossiter’s moody lighting enhanced the piece’s sombre tone.
Mensah has crafted a work that is mysterious, moving, and masterfully realized. With ESHI, she turns bodies into vessels of memory, loss, and healing. Her movement speaks volumes.
The sizzle of the evening belonged to the third feature, the Toronto debut of AFRO LATIN SOUL by Sekou Miller and Friends. This talented, high-energy troupe of dancers and musicians presented a vibrant fusion of Caribbean dance and music culture blending Afro-Caribbean essence with African American jazz and modern dance techniques. Taking its cue from the Golden Age of mambo from the 1940s to the 60s, this was a spectacular display of jazz and the African roots of salsa dance and music. This was a carnival to remember.
Director and choreographer Sekou Miller, dressed head-to-toe in a sharp white suit and matching shoes, kicked things off with a solo jazz dance and some vocals. The guy’s got serious charisma — no doubt about it — though he did hang onto the spotlight a little longer than necessary before bringing out his incredible team of dancers (Charlie Garcia, Devin Flores, Killeg Torres, Madelyn Clark, Teresa Garcia, and Time Brickey) and the awesomely tight live band (Andres Magno, Camila Cortina, Camilo Molina, Elijah Maduro, Raul Reyes, and Sebastian Natal).
Miller’s choreography was bold and packed a punch, matching perfectly with the pulsing Latin beats. These dancers were pure Latin energy from head to toe, each given their chance to shine – crisp arm work, lightning-fast footwork, and completely in sync with the music.
It was a compelling watch to see these dancers flip between traditional salsa moves and grounded African-inspired steps — a visual reminder of the deep connection between the two cultures.
Time Brickey’s tap solo brought something fresh to the mix, though unfortunately, the stage mics didn’t quite pick up his footwork clearly enough, which was a bit of a letdown. A few wobbly chaîné turns from the female dancers — not spotting will do that — in no way took away from the overall experience.
The whole performance was electric. More than an act — this was a celebration. Mic problems aside, it was full of heart, rhythm, and soul.
After some initial concerns about what seemed like a downsizing of this revered dance festival, it’s now clear that its new direction—featuring smaller venues—has brought a welcome sense of intimacy and deeper audience connection. With another week left in the festival, and FFDN continues to evolve in exciting ways. At just $25 a ticket, it remains the best value for dance in the city.
Fall for Dance North 2025
October 15 – 26, 2025
Various venues around Toronto with various artists and companies.
Tickets at https://am.ticketmaster.com/tolive/ffdn2025-onlineboxoffice
