Choreographer/Artistic Director of 1,000 Pieces of Π: Dyana Sonik-Henderson

Dyana Sonik-Henderson (she/they)

Dyana is a choreographer, instructor, and the Executive/Artistic Director of the Victoria-based dance company Broken Rhythms Victoria Society. She is a staple in the Victoria dance community teaching at the iconic Raino Studio, Victoria Academy of Ballet, Pacific Dance Center, Canadian College of Performing Arts and is a popular guest instructor at many dance institutions across Canada. Dyana has been recognized for her original choreography, community work and artistic direction with five Pick of the Fringe awards, nominations for the inaugural Pro Arts Regional award, and she was a finalist for Monday Magazine’s Best Dance company; she was awarded the LOLA Project International, working with Gabi Beier from Berlin, Germany, and was presented with the title of B.C. Cultural Ambassador for 2019/2020 due to her work with community engagement and recognition of artistic excellence. Dyana holds Certifications of Completion in contemporary, physical theater, choreography and contact improv from Trinity Laban Conservatoire of Music and Dance, London, England, and continues to engage in contemporary multi-disciplinary areas of study and performance. Most recently she completed her first year of the Masters (Sociology) program at University of Victoria with a focus on movement and bodies through the lens of gender, race, history, and contemporary dance works (2020-2021).

 Question 1) What would you say has been the most difficult and rewarding part of creating 1,000 pieces of π ?

The most difficult part was the planning and second guessing of the work. Unlike in a traditional show where you can adjust and move dance sections around, 1,000 pieces of π (due to its linear nature) is difficult to adjust. If one dance requires a time change or you can’t fit all the numbers in it, that will subsequently impact the following dance and that will impact the next one and so on and so on.

1,000 Pieces of π was also very experimental and I was not sure it would work. The most rewarding part was when I found out it did work (at least for me) in helping me remember long numerical sequencing. As someone who struggles remembering four-digit codes to recall 1,000 numbers in proper sequencing because of the choreography is unbelievable and something I never thought I would be able to do.

Question 2) What is different about 1,000 Pieces of π compared to previous Broken Rhythms work?

From a chorographical perspective, it is both more structured and freeing. I have been made more aware of my own habits in regards to what steps I will sequence together, and this process has completely changed how I approach my own creative process.

From an audience perspective, 1,000 Pieces of π offers an interactive piece rarely found in contemporary dance. Once the audience knows that there is a code of movement to follow, they can begin to pick out the moves as they begin to see that move over and over again in the dance. An easy one to identify is 0 (connect to another dancer). As the dancers touch, lift and high five, the audience continuously or subconsciously understands that that movement signifies a number, and they can begin to look for it and engage with it when they see it.

Check out Dyana and all the Broken Rhythms Dancers Jan 14!

Location: The Metro Studio (1411 Quadra St, Victoria, BC V8W 2L2)

Dates: Jan 14 7:30-8:30

Tickets: 1,000 Pieces of π Tickets

Join the Facebook Event: 1,000 Pieces of π -one night only

Share a short play list of your warm up music before you hit the stage ( Available on Spotify)

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