Perspectives: Zooming in on Dance Leadership featuring Kate Franklin
Get to Know Kate:
Where are you from and where are you based now?
I am from North Bay, Ontario and am now based in Vancouver, British Columbia.
What are your roles in the dance industry?
Dance Educator, Choreographer, Performer, Administrator
What are your top 3 favourite credits or jobs from your dance career?
In no particular order: 1) Break Open Play by choreographer Matjash Mrozewski (my first evening-length role as a dancer, age 24. The cast was incredible). 2) Gotta Go Church by Company Vice Versa/Valerie Calam (a very special, personal solo, made when I was 32.) 3) lossy by Company 605, (premiered in 2024. The piece took over five years to make and I am very proud of what we did together). 4) Sorry, I have to mention Family Dinner by Justine A. Chambers as a fourth piece. This was my first Vancouver dance job, and the cast became my closest friends/ collaborators/ colleagues. The work itself is so unique - built entirely from dining gestures.
"…Now that I had all of these younger dancers watching me, I knew that I had an opportunity to show them my values.”
Photo of Kate Franklin by David Cooper
What does the word Leadership mean to you in the context of the dance industry? How do you think leadership applies to your role as Associate Artistic Director of Modus Operandi, and how does it influence your teaching and mentoring practices?
I became Associate Artistic Director of Modus Operandi in 2016. Our student body is made up of around 30 dancers ranging in age from late teens to late twenties. When I took this role as AAD, I immediately understood that the way I wanted to lead was by example. Now that I had all of these younger dancers watching me, I knew that I had an opportunity to show them my values. So I doubled down on kindness, honesty, respect for all dancers everywhere, openness, playfulness, willingness, the belief that no one owes me anything, rigour, playing the long game, bravery, helping others, not taking setbacks personally, hard consistent effort, taking care of my health, communicating clearly, being a team player, dancing simply for the love of dancing, self-awareness, minding my own business, staying in my lane, knowing what my goals are, not coveting someone else's career, taking responsibility for my own fulfillment and happiness and safety, and having a practice of gratitude for the life I have built in dance. I try to walk into every class and every rehearsal with all of this stuff present in my approach.
Can you share ONE pivotal moment in your career as a dance artist that helped in shaping your relationship to dance?
I was ten years into my career and had already accomplished a lot of my goals as a dance artist when I started making the solo Gotta Go Church with choreographer Valerie Calam. I happened to be going through a really hard time in my personal life. I pulled my focus away from the chaotic stuff that was happening in my life and poured myself into the process for Gotta Go Church. I found a new level of commitment, presence, skill and bravery in my work. My relationship with dance suddenly became so uncomplicated; she is simply the most consistent companion in my life, she will always be there for me and I will always show up for her no matter what. I ended up winning a big award in Toronto for my performance of Gotta Go Church. I never expected to win that award ever. It showed me that if I give more to dance, I can expect to receive more in return.
What is your favourite thing about working in the dance industry?
My favourite thing about working in dance is the people. Dancers are the best people. We're practising empathy constantly, which makes us super-human feelers. We are good at taking risks. We understand presence. We know that the most important things in life can't be kept or held in our hands or even described in words. We're operating on a secret level that only we know about. We're so, so, so rich.
What is your VISION for the dance industry? How do you think the dance community can adapt to challenges, embrace collaboration, and build a sustainable future for all forms of dance?
My vision for the dance community (local and international) is that we do things ourselves. We don't wait for any perceived gatekeeper to let us in. We collaborate rather than compete. We imagine new ways if the old ways are not working. We help each other. We share resources. We let go of old structures and yes, even old spaces/venues if they are no longer serving the community's needs. We build other things in their place. We never race each other to the bottom. When one of us is successful, we are all successful. We respect all forms of dance, and we know that all dance has a place in the ecology of our community. The future will look different. We should try not to be afraid of this fact. Dancers will always dance.
If you could give one piece of advice to young dancers or anyone aspiring to build a successful career in the dance industry, what could they do to help them stay committed and fulfilled?
Follow your curiosity and follow your luck. Be brave enough to admit to yourself what it is that you want from your career. Make sure your goals are actually your own and that they don't belong to your teacher or to a previous version of yourself. Make sure that your daily actions support your goals. Be kind and assume that everyone is trying their best. If you're lucky enough to have a very long career, power will change hands many times. Be cool to EVERYONE. In my experience, the people who stay in dance are not the most "naturally talented" dancers, but rather the most stubborn ones, who keep chasing that next breakthrough in their craft, and who find endless fascination in the smallest details.
Thank you, Kate for sharing your thoughts, compassion, and love of dance with us. You can stay connected with Kate via Instagram: @kate.franklin31
