Member of the month: September 2015
James Kendal (performer name, Jimmy Danger)
Dancer, Carpenter, Technician (lighting, sound, video, etc.)
What style of dance do you practice?
I started off with a healthy decade dose of ballet, following that for this past decade my dance has been a vast spectrum of everything from Contact Improvisation to experimental work alongside contemporary and ballet drop-in classes. A clip of me performing as my alias, Jimmy Danger in 60x60 dance Toronto October 2014.
What upcoming projects are you involved in?
I am going to be working with Victoria Mata on a piece for Nuit Blanche on October 3, 2015 - site 87 Callejon de Memorias: the embodiment of memory.
Where do you do most of your training?
Lately I have been a big fan of Christine Wright's daily ballet class in collaboration with Peggy Baker Dance Company held at the National Ballet School (check it out here), but sadly, it is rather infrequent I have time to squeeze morning class into my busy days, so much of the time I do most of my training on my own or in process on projects.
Which do you prefer - live music or a recording when you perform?
I love nothing more than performing with live music when circumstances allow for it. I have been performing regularly these past few years with the fantastic Dr. Draw (electric violinist). Nothing gives me a bigger rush than the energy interplay onstage with live music, be it with Draw and his rock band in a club or onstage with an orchestra.
Describe your most embarrassing moment on stage or in performance.
One of the most bizarre/embarrassing episodes I recall was in the late 90s in Edmonton. I was a dancer role in La Traviata, and following my onstage death as a bullfighter/bull all of the lights went out... the first thought through my mind was "oh my gosh, I have managed to pass out as I 'died' onstage"... followed by "if I am having this thought...I am probably still awake." The auditorium was dark as the orchestra and singers slowly dropped off and some emergency lights in the audience flickered on. It turns out there had been a catastrophic car accident with a transformer that had knocked out a whole region of the city. When the power was finally restored an hour or so later, we started the scene from the top so I was allowed a do-over for my death and died again onstage that night.
Why did you join CADA-ON?
I joined CADA-ON on my return to Ontario following many years away in Calgary and Montreal chasing ballet then running away from it. I wanted to keep involved in the dance community in any way possible, and CADA has really been a fantastic organization to keep on my radar. I really appreciate the many programs CADA provides including Professional Discounts, Professional Standards for Dance and the new services of Free Studio Space and Pro-bono Legal Counsel. Cheers and carry on the great work!
Connect with James!