Aerial Dance Header
Talia is a solo performer in the artĀ of aerial dance. Climbing, posing, wrapping, unrolling and falling in ‘silks’; fabric hung from a single point 20 – 30 feet off the floor. Talia has performed on silks at a wide variety of concerts and events. Contact her to arrange for a performance the next time an occasion calls for something spectacular in the way of entertainment. Photos of her performance at the gala fundraising event for Shakespeare in the Ruins, in February of 2007, are available at the Shakespeare in the Ruins web site. Or go directly to the Gala 2007 photos.

See Talia in Canada’s Got Talent.

Talia relaxing in silks

Interview: High Flying

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Interview by Tracy Koga

Aerial Artistry

Aerial Artistry was commissioned by CODE (Cultural Olympiad Digital Edition), which was funded by Manitoba Film and Sound and Telefilm Canada.

Production Stills from Aerial Artistry

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Talia as Puck

Talia plays Puck, in SIR’s A Midsummer Night’s Dream

Lithe aerial dancer Pura overshadowed music score

Sat Feb 9 2008By Gwenda Nemerofsky

IF you’re lucky, once in a while you’ll witness a special performance you’ll never forget. Something about it captures your imagination, moves or excites you — or is so completely original that it stays with you.

For the 749 people who attended Thursday night’s New Music Festival concert, Synthesize My Soup, that performance had to be Talia Pura in Pierre Michaud’s Ether 1. Pura is an aerial dancer who, throughout this serene work, could be seen suspended above the stage — close to 15 metres in the air, with only a piece of cloth, twisted and wrapped around parts of her lithe body, to hold her in many unbelievable poses.

Below, the Winnipeg Symphony Orchestra played sustained notes conducted by Matilda Hofman, a student from the Eastman School of Music and participant in the WSO’s recent Professional Conducting Symposium.

To be honest, the sight of Pura in her fuchsia velvet bodysuit, free-falling Cirque de soleil-style as she unravelled herself from the bands of cloth, rendered Michaud’s music imminently secondary — leaving only a vague impression of changes in density and volume.

It was wonderful entertainment, nonetheless, and a very hard act to follow.