June 17th

Anna Firth

June 22nd
1 – 5 PST 

Malidi Webb

Writing Workshop

Online via Zoom

June 25th

7 – 10 PST 

Justine A. Chambers
Stephanie Cyr
Alison Denham
Kate Franklin

Bynh Ho 
Vanessa Kwan

An interdisciplinary project exploring the potential of dance as a medium

While visiting Vancouver from New York, the experimental choreographer Deborah Hay, in collaboration with the Box Eighty Theatre Society (founded by local choreographer Helen Goodwin), hosted a participatory dance event at Western Front on November 22, 1974. Titled Dances for Everybody, the event has no known documentation, and this fact, alongside the conceptual premise evoked by its title, creates an opportunity to collectively speculate on the original performance. 


No Single Dancer references Dances for Everybody, and questions the possibility and potential of dance at a moment in time when we are increasingly physically, socially and politically isolated from one another. What are the ways that everybody dances? How can we dance with, and for, everybody? What social potential might a dance for everybody hold? As a form that depends on bodies and relationality, this project asks if dance can serve as an inclusive and equitable space for all bodies


By taking an interdisciplinary approach, and inviting a choreographer, writer and visual artist to explore what dances for everybody may be, this project considers the potential of dance as a medium. It also attempts to expand an understanding of dance through discursive programming, in which community participants can offer their own perspectives and interpretations of dance.


No Single Dancer includes a virtual installation by visual artist Anna Firth, available online from Thursday, June 17; an online writing workshop with writer and art historian Mercedes Webb on Tuesday, June 22; and a performance by choreographer and dancer Justine A. Chambers on Friday, June 25 at Western Front. More will be added here as the project progresses. 


No Single Dancer is curated by Jasmine Hynes, a candidate for the MA in Critical and Curatorial Studies at the University of British Columbia. The project is presented by Western Front with support from the Killy Foundation and the Audain Endowment for Curatorial Studies through the Department of Art History, Visual Art and Theory in collaboration with the Morris and Helen Belkin Art Gallery at the University of British Columbia.


Jasmine Hynes (she/her) is an emerging curator and cultural worker born on Mi’kmaq and Beothuk lands (Burin, Newfoundland), raised on Treaty 7 territory (Calgary, Alberta) and now residing on the unceded and ancestral lands of the Squamish, Musqueam and Tsleil-Waututh peoples (Vancouver). Hynes holds a Bachelor of Arts with Distinction in Art History and Museum and Heritage Studies from the University of Calgary. She is the Curatorial Assistant at the Craft Council of British Columbia where she is currently working on a project exploring the connections between, and interpretations of, craft materiality through the communicative and ephemeral language of dance. Hynes has curated exhibitions at the AHVA Gallery (Vancouver), the Nickle Galleries (Calgary), and the Little Gallery (Calgary).