NICOLE CHARLTON GOODBRAND
ARTIST | PERFORMER | CHOREOGRAPHER | TEACHER
is a dance artist based in Moh’kinsstis (Calgary, Alberta). She holds a Bachelor of Arts in Dance from the University of Calgary, a Bachelor of Arts graduate diploma from The School of Alberta Ballet, and a Professional Dancers’ Postgraduate Teaching Certificate from the Royal Academy of Dance (Berlin), where she graduated with distinction. Nicole has performed with La Caravan Dance Theatre, Corps Bara Dance Theatre, mixOLOGYdanceMine, J-SIK Movements, O2 Dance Company, Surge Co., Dancers’ Studio West (DSW), Project InTandem, WM Physical Theatre and with choreographers Davida Monk, Linnea Swan, Barbara England, Sylvie Moquin, Melissa Monteros, Wojciech Mochniej and Pamela Tzeng.
She has presented her choreography in DSW’s Annual Alberta Dance Festival and Quick+Dirty Festival for Emerging Choreographers and Ideas, To The AWE, WiLDDOGS International Screendance Festival, Dance Montage, Nextgen Festival, Skylines Dance and Film Series, Springboard Performance's Fluid Fest, ArtsCommons TD Broadcast Series and Amplify Series, BodiesIndivisible's Generations and has been commissioned by Ember Dance Company. She is the Artistic Associate of the WM2 Dance Company and has been a part of W&M Physical Theatre’s Artist in Residency Program 2017/23, DJD Creative Residency Program 2021/23, The Grand Creative Residency 2021/23, ArtsCommons' TD Incubator 2021/22.
Nicole is a dance educator and certified teacher with the Royal Academy of Dance (RAD-RTS), teaching contemporary, modern, and classical ballet technique at North Calgary Dance Centre. She also teaches as a sessional instructor at the School of Creative and Performing Arts at the University of Calgary, and has been a guest instructor for Surge Co., The School of Alberta Ballet, Ember Dance Company, and O2 Dance Company.
Every time I am on an airplane, I find myself looking down at the tiny homes and cars below and yearn to peel open every roof, like tiny sardine cans, and glimpse into the private and intimate moments of someone else’s life. To know the conversations, the behaviours, and the unresolved stories that these spaces, and their inhabitants, possess. I want to taste the food they make, I want to see the items they cherish, and I want to observe the intimate and bizarre habits that they reserve for private.
As a Calgary based dance artist, choreographer, and dance educator, I am interested in creating work that is heeded by curiosity and that highlights the magic that can be found in the mundane. I value art that is engaging and inquisitive, and that can focus an audience’s attention to a foreign, yet familiar landscape.
The subject matters I explore emphasizes the everyday narrative of humans and their relationships to one another, to themselves, and to the environments they construct. I use dance and performance art to create both solo and ensemble work that illustrates the layered complexities of surreptitious human behaviour and distorted personal realities. I am particularly interested in examining the contradictions of a person’s thoughts and behaviours in public vs. private, and seek to investigate how we all justify our own morality while often judging that of others.
NICOLE CHARLTON GOODBRAND
SEPT 22ND-23RD 2023
'THE SKIN OF AN OCTOPUS'- in GENERATIONS presented by BodiesIndivisible, m-body & DJD
The Decidedly Jazz Danceworks Theatre, Calgary, A.B.
FEB 6TH-JUNE 30TH 2023
DJD CREATIVE RESIDENCY
Supported by the Alberta Foundation for the Arts
Decidedly Jazz Dance Centre, Calgary, A.B.
NOV 4TH-5TH 2022
'WHEN LANGUAGE FAILS'- ProSeries at the University of Calgary
'ENTWined' Choreographed by Wojciech Mochniej in collaboration with Melissa Monteros, University Theatre, Calgary A.B.
JUNE 2ND-SEPT 1ST, 2022
ARTSCOMMONS PRESENTS TD BROADCAST LAB
The Skin of an Octopus- Prologue video as part of TD Broadcast Lab ArtsCommons, Calgary, A.B.
APRIL 30TH, 2022
ARTSCOMMONS PRESENTS TD AMPLIFY CABARET SERIES
The Skin of an Octopus as part of TD Amplify Cabaret- Letters Home (That I Didn't Want to Send), Engineered Air Theatre, ArtsCommons, Calgary, A.B.
OCT 29TH 2021- LIVE
OCT 29TH-NOV 7TH- ONLINE
FLUID FEST- PRESENTED BY SPRINGBOARD PERFORMANCE
Premier of the stage work 'The Skin of an Octopus'
The Grand Theatre, Calgary, A.B.
SEPTEMBER 12TH-13TH, 2020
WILDDOGS INTERNATIONAL SCREENDANCE FESTIVAL
'Her Cooking Smells Like Death' receives the CanadaVOICE award in the Wilddogs Intenational Screendance Festival
JULY 31ST-AUGUST 15TH 2020
DSW'S QUICK+DIRTY FESTIVAL FOR EMERGING ARTISTS AND IDEAS
'Her Cooking Smells Like Death' premiered in Dancers' Studio West's Quick+Dirty Festival for Emerging Artists and Ideas
JUNE 17TH-18TH 2022
QUICK+DIRTY FESTIVAL FOR EMERGING ARTISTS AND IDEAS
The Skin of an Octopus at The Grand, Flanagan Theatre, Calgary, A.B.
MARCH 18TH, 2022
FUNDRAISING EVENT FOR THE PEOPLE OF UKRAINE- WOLVES AT THE DOOR
Her Cooking Smells Like Death screening as part of Wilddogs International Screendance Festival 24hour Fundraising Marathon, Online
FEB 16TH, 2022
COMMENTARY ON THE SKIN OF AN OCTOPUS IN FLUID FEST 2021- BY RUFI OSWOLDO (DSW)
Read the complete commentary here:
"The Skin of an Octopus is a wild ride punctuated with strangeness and humour!" -Rufi Oswoldo
PREMIERE OF 'MADE UP' Choreographed By Linnea Swan
Presented by Dancers' Studio West Associate Artist Program
cSPACE King Edward Theatre
MADE UP ON THE COVER OF DANCE CURRENT MAGAZINE
Made Up by Linnea Swan- Presented by Dancers' Studio West Associate Artist Program
Q+D ARTIST FEATURE
Artist feature by Dancers' Studio West's- Quick+Dirty Festival for Emerging Artists and Ideas
Registered Teaching Status- Royal Academy of Dance, 2015-Present
Professional Dancers' Postgraduate Teaching Certificate, Royal Academy of Dance, Berlin, Germany
Bachelor of Arts University of Calgary, Calgary, A.B.
Bachelor of Arts Graduate Diploma, School of Alberta Ballet, Calgary, A.B.
My role as a dance educator is to engage students in a physical practice that generates original thought and equips students with the appropriate skills to develop a strong understanding of movement technique, to refine their individual artistic voices, and to promote a pursuit of life long learning. By keeping the whole dancer – body, mind, and spirit – as the priority, students of all ages, physical and cognitive abilities, and levels of training are capable of finding enjoyment and success within their own dance journey. My primary focus is to ensure that each class offers students an equitable environment that facilitates their individual pathways to learning and aids them in becoming a highly knowledgeable, healthy, and technically proficient dancer.
As a classically trained dancer and contemporary dance artist myself, I have spent years studying, teaching, and performing in a range of dance styles. My dance teaching methods pull from my breadth of work and experience, including classical ballet disciplines, such as; the Royal Academy of Dance, Cecchetti, and Vaganova, modern dance disciplines, including; Limon, Graham, and Laban analysis, as well as Gyrokenesis and Gyrotonic, yoga, Feldenkrais method and somatic bodywork. I have also studied contemporary dance extensively with Davida Monk, Melissa Monteros, Wojciech Mochniej, and Maya Lewendowsky. These experiences have influenced my teaching vocabulary to incorporate classical modes of technique with improvisation, conditioning, athletic cross training, mental visualization, and use of imagery.
Initially, in my early years of training, I had a difficult time understanding the connection between classical ballet and contemporary dance technique. I was under the impression that each style of dance directly contradicted the other in training and in performance. Years later, when I began to look at movement as a series of universal principles that underline all physicality and modes of movement, I became acutely aware that movement, regardless of genre, is derived from the same basic principles of bio-mechanical understanding and personal expression. I discovered how to apply weight, spiral, gravity, swing, and poise into both my ballet and contemporary training, and learned how to incorporate the aforementioned principles of movement into my teaching practice by utilizing the innate movement functions of a student’s body to instinctively inform them on how to best employ their natural abilities to achieve sustained artistic expression through movement. Functional posture, alignment, core strength, line, weight placement, along with classical aesthetic values of simplicity, balance, and harmony, are at the forefront of my teaching practice and are used regularly to help inform dancers on how and why they are moving. It is also used to strengthen their ability to perceive, feel, sense, and perform with an elevated level of integrated embodiment.
Every aspect of movement is integrally human and, therefore, is inherently expressive by default. Personal choices, such as, employment of speed, dynamic quality, weight, musical responsiveness, and directionality, facilitate a dancers’ ability to utilize their technical and physical capabilities and helps them to convey their internal dialogues and emotional landscapes. No dancing body is the same, which is why the art of teaching relies on a collaborative exchange between the teacher and student. This collaboration promotes an optimal learning environment that keeps the students’ motivation, physical and cognitive abilities, and level of investment at the forefront of their education. I teach to inspire personal discovery and to encourage curiosity, experimentation, and accurate anatomical function. I support the harmonious exchange of learning between teacher and student by encouraging continual feedback and self-improvement, and by designing a class that can meet the individual needs of each student.