Review: Fall For Dance North - AFROFUSION: Signature Programme 1

This year, Fall for Dance North arrives with a fresh sense of direction, presenting three mixed signature programmes at the Bluma Appel Theatre. Now in its 11th season, this year’s festival brings together thirty Canadian and international artists under the leadership of Co-CEOs and Festival Director Lily Sutherland and Artistic Director Robert Binet. Running from October 15th to 26th, this series is one of my favourites in the city, bringing dance in all different forms to Toronto stages for affordable prices.

I’ll be reviewing each of the three Signature Programmes separately, with my final review reflecting on the season as a whole. This first review focuses on AFROFUSION: Signature Programme 1, curated by Esie Mensah and running until October 18. This performance features three works that fuse traditional and contemporary Afrofusion styles from Toronto, New York, and London.

The program opens with Duende, a pensive solo danced and choreographed by Dickson Mbi, who was born in Cameroon and raised in London. The programme note for Duende captures much of what unfolded on stage: “We are all visitors in the object world, stepping in and out of the light of reality. All of us are too often prey to the habit of concealing our souls and their living history.”

Mbi begins with slow, deliberate walks across a dimly lit stage, framed by a warm centre spotlight. The lighting design by Fabiana Piccioli is a highlight of the work. It breathes with Mbi, shifting in intensity and focus. At times, the light seems to hold him entirely; at others, it isolates an arm or shoulder, revealing how movement and concealment coexist. Mbi takes his time through the piece, alternating between full-bodied sequences and moments of stillness. One recurring motif, a walk with relaxed arms that ripple at his sides while he moves quickly in a demi-plié, was particularly beautiful.

Although Duende is structured as a solo, I could imagine the movement translated into an ensemble setting, the gestures expanding outward to highlight the individuality of a single dancer. This does not take away from the solo’s strength, which lies in how it invites connection and allows the audience to witness Mbi’s grounded and introspective presence as he moves through moments of self-disclosure.

Next up in the show, is a world premiere from Toronto’s own Esie Mensah titled ESHI. This large ensemble work is performed by both dancers from Esie Mensah Creations and students from Canada’s National Ballet School. The title, meaning water in the Ewe language, matches the piece well as it flows just like its name, with fluid transitions, forever shifting formations, and movement that keeps the audience fully absorbed.

Mensah’s choreography here feels both traditional and contemporary, grounded in African movement while expanding through a contemporary vocabulary. The movement is full-bodied but controlled, with big, satisfying swings and spirals through the spine. The ensemble is remarkably clean but never rigid, maintaining a strong sense of freedom and individuality within the group. It’s lovely to see the inclusion of the NBS students, giving them choreography that pushes beyond their usual comfort zones. Toward the end of the work, a singer (Joanna Majoko) and percussionist (Yohance Parsons) join the stage, performing alongside Mensah dancing herself, which adds an intimate and powerful layer to the work.

The programme notes speak of ESHI exploring the quiet violence and unexpected grace of grief. While I did not focus on those themes as much in the moment, perhaps because I was so entranced by the choreography, I can imagine seeing them emerge more clearly on another viewing, which I would welcome.

Following intermission, the evening closes with Afro Latin Soul, directed and choreographed by Sekou McMiller in collaboration with the artists of Sekou McMiller & Friends from New York City. This piece opens with a full band already on stage, gradually joined by dancers from a range of Afro-Latin backgrounds who each share their styles before coming together in a lively call-and-response celebration. We see flashes of tap, salsa, and mambo, all feeding into the same infectious live rhythms.

This piece is pure celebration and is easily an audience favourite. There were a few technical details still to smooth out, a microphone that didn’t quite pick up a dancer's opening speech and some muted tap sounds with the current setup, but the dancing itself was a joy to watch. The performers are charismatic and generous in their energy, even if the audience, at times, seemed more inclined to watch than participate in the onstage invitation to clap along or dance with the artists. The concept is strong and the atmosphere contagious, though there were also a couple of moments where the ensemble’s energy dipped slightly before the final push. Still, Afro Latin Soul is a high-spirited and fitting close to the program.

Overall a great start to the Fall for Dance North season! If you want to catch this programme, you have until October 18th to do so. The festival continues until October 26th with a wide variety of programming, including Homegrown: Signature Programme 2 on October 18th and 19th, the Intimate Pairings showcase from October 21st to 23rd, and Kathak & Ballet: Signature Programme 3 from October 23rd to 25th. Additional events run in partnership with OCAD University and the Citadel throughout the festival.

AFROFUSION: Signature Programme 1, presented by Fall for Dance North, runs until October 18th, 2025, at the Bluma Appel Theatre (27 Front St E, Toronto, ON). Single tickets are $25, and ticket packages for all three signature programmes are $65. The festival also offers a variety of free and ticketed dance events continuing through October 26th. Tickets can be purchased online here.

For more information, check out: FFDnorth.com
Facebook: @fallfordancenorth and Instagram and Twitter: @ffdnorth

Written by Deanne Kearney
DeanneKearney.com @deannekearney