By: Nejdana Houshyar, Peak Associate
On June 5 and 7, Mi’gmaq dance artist Cheyenne Seary debuted her latest piece, “Casseiopia,” with the All Bodies Dance Project at the Goldcorp Centre for the Arts at the SFU School for Contemporary Arts. The piece explores themes of love, aging, and grief. It follows a young mother navigating the trials of motherhood while following a community mourning two lost children. “Casseiopia” speaks from experience — a harrowing yet beautiful work that encapsulates Seary’s personal life. The Peak reached out to Seary to learn more about her life, her work, and the symbolism behind “Casseiopia.”
This interview has been edited for clarity and concision.
What made you want to become an artist and choreographer?
I have always enjoyed the arts, but for many years I never considered myself an artist. I believed that artists were people with exceptional talent, while I simply enjoyed being creative. Over time, I have come to realize that art is about expression, connection, and community.
My journey as an artist began 11 years ago when I joined my first All Bodies Dance Project class. Being part of a community of engaged dancers has helped me embrace my identity as an artist. I saw that being an artist is less about performing perfectly and more about being open, authentic, and willing to create with others. Through movement, collaborative choreography, and celebrating our differences, I also discovered that dance can look many ways and that every person’s story has value.
As an early childhood educator, I am inspired by the quote, “Every child is an artist. The problem is how to remain an artist once we grow up.” Children creating, exploring, and expressing themselves without fear has influenced the way I approach my own creative practice.
Why did you choose to call the piece “Casseiopia,” and how does the symbolism of a strong mother figure reflect your art?
In December 2024, All Bodies Dance Project presented Constellations at the Roundhouse. For this production, I created a piece called “Casseiopia,” inspired by the constellation of the same name. I was drawn to her image because it reflected both the strength and vulnerability I associate with motherhood.
“Casseiopia” explores the struggles, resilience, and joy of being a mother. The choreography began to take shape during 2020, when I was a new mom navigating the uncertainty, isolation, and grief of the pandemic, while also discovering the deep love and connection that comes with caring for a new baby.
For me, the piece is not only about motherhood, but also about the power of community, creativity, and collective care. It reflects my belief that dance can create spaces where our stories are witnessed, our challenges are honoured, and our shared humanity is celebrated.
Your piece also touches on a community’s mourning of two lost children. How does the contrast between birth and loss shape the meaning of your work?
The big, child-sized red chairs at the beginning of “Casseiopia” symbolize a connection I had with a young boy who lived where I grew up. One day, he saw me outside holding and rocking my baby. He found a small chair and a toy baby, sat beside me, and mirrored what I was doing. That memory stayed with me deeply, especially because he passed away only a few months later.
In the dance piece, the big red chair becomes a memory chair, carrying the presence of those we have lost. Each chair represents a member of the community supporting another. Together, they are like a sacred fire, one that is lit when someone from my mother’s community begins their journey to the ancestors.
Keep track of Seary’s future works through All Bodies Dance Project’s Instagram account, @allbodiesdance.
