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Dance
FESTIVAL 2027
March 2 - 6, 2027
Rotary Centre for the Arts
Registration opens November 15, 2026
Dance entries open on StageFlow on November 15 and close January 29, 2027.
Until then, take some time to look through the Dance syllabus. It covers every class, the age categories, time limits and rules, so you’ll know exactly what to enter when registration opens.
Fees start at $32 for a solo, and the full list is below.
CATEGORIES & FEES
Ballet
Demi-Pointe, Pointe, Neo-Classical, Contemporary, Interpretive, Character
Modern & Contemporary
Modern, Interpretive Modern, Contemporary, Interpretive Contemporary
Stage Dance
Jazz, Lyrical, Tap, Hip-Hop, Acrobatic Arts, Theatrical, Song & Dance, Choreography
Cultural Dance
Ethnology (Irish, Highland, Ukrainian, Indian Classical, Polynesian, Flamenco, etc.)
Fees
Solo: $32 per entry
Duo: $37 per entry
Trio: $42 per entry
Groups: $102 - $202
Production: $202 per production
Masterclass: $32 per class
Dance Production
Full-length works combining multiple dancers or styles
ADJUDICTOR
Kaitlin Gorman
Kaitlind Gorman is a Toronto-based dancer, teacher and adjudicator with a passion for helping the next generation of performers grow. Originally from Pembroke, Ontario, she moved to Ottawa to continue her training, graduated from Canterbury Arts High School, and then headed to Toronto with the drive to perform. She is an honours graduate of George Brown College’s Dance Performance Preparation Program and received the program’s 2015 Faculty Award for overall excellence.
Kaitlind still performs professionally, with credits in musical theatre, cabaret and dance productions including The Producers, Mary Poppins and Big Fish. That keeps her knowledge of the industry current. She is A.D.A.P.T. certified in Jazz and Tap and has completed the Acro Dance Adjudicator course. She has taught tap, jazz, ballet, modern and musical theatre to dancers aged 2 to 17 at studios across the Toronto area, and has adjudicated competitions across Canada and the United States.
On the panel, her focus is always the dancer in front of her. “I am here for the kids and their growth,” she says. Rather than repeat what students have already heard, she looks for one thing each dancer can realistically achieve that season. One fellow adjudicator called her tap critiques “the best I’ve heard in many years.”
OUR SUPPORTERS
Thank you to our generous funders, sponsors and supporters.
