Great Concordian: Barbara Kaneratonni Diabo, award-winning dancer, choreographer and artistic director

Barbara Kaneratonni Diabo, BFA 91, is a visionary dancer, choreographer and educator whose work connects Indigenous heritage with contemporary dance. A member of the Kanien’keha:ka (Mohawk) community of Kahnawake, she is the artistic director and choreographer of A’nó:wara Dance Theatre and is recognized for her contributions to the Canadian and international dance scenes.

A trained classical ballet dancer who moved to Montreal at 18 to study theatre at Concordia, Diabo’s work blends a variety of styles — rooted in her Indigenous heritage — with contemporary forms such as hip hop and modern dance.

Early in her career, she says, Indigenous performing arts were less widely understood and supported.

“When I first graduated, there was a lot of ignorance around Indigenous productions,” Diabo reflects. “It was difficult to put our culture on stage — I was encouraged to fit into another box.”

In recent years, however, she has noticed a positive shift: “There’s more support now, and Indigenous artists are expressing our cultures on stage in ways that feel authentic and true to who we are.”

One of Diabo’s most significant and personal works is Sky Dancers, a multimedia dance piece that honours the lives lost in the 1907 collapse of the Quebec Bridge. The tragedy claimed the lives of 76 workers, including 33 Mohawk ironworkers from Kahnawake, among them Diabo’s great-grandfather, Louis D’Ailleboust.

Recognized for her artistry and commitment to Indigenous cultural preservation, Diabo has received numerous accolades, including the 2021 Prix interprète de la danse at the Prix de la Danse de Montréal. Her choreography for the dance film SMUDGE, co-directed with Pepper O’Bomsawin, also garnered acclaim, and Sky Dancers earned the Dora Mavor Moore Award for Outstanding Touring Production in 2022 for its presentation at Toronto’s Harbourfront Centre.

In addition to her artistic accomplishments, Diabo is a passionate educator, working to create space for young Indigenous artists. She has been involved with several organizations, such as the Indigenous Performing Arts Alliance and La Danse sur les routes du Québec, where she advocates for the inclusion of Indigenous voices in the arts and supports the development of Indigenous performing arts across Canada.

The Great Concordian is currently developing a new work titled I Dream in Wampum, a large-scale dance show that explores Indigenous Futurism.

“I’m a science-fiction geek,” she shares with enthusiasm, “so this project combines three of my passions: performance, my culture and science fiction.”

Slated for 2026, the show will offer a vision of a positive future. As Diabo explains, “Our people believe that we came from the stars, the sky. I’m imagining revisiting, and exploring what might have happened if colonization never took place. What would that look like? How would we be different?”

When you reflect on your time as a Concordia student, what stands out?

Barbara Kaneratonni Diabo: The incredible relationships I built with both the students and the faculty. These connections have lasted for years, and some of them continue to shape my life today.

Concordia really gave me a sense of belonging in the arts community, which was a huge support. I also learned to dream big.

Coming from a small town, I was a little unprepared for life in the big city, but the intimate Theatre program made me realize that anything was possible in the world of art. I learned to embrace risks and push past the fear of judgment. I discovered that I could create without limitations and trust my instincts — and that’s stayed with me throughout my career.

What are some of the factors that have enabled your success?

BKD: An insatiable passion for performing and creating. It’s more than just a job for me — it’s something I have to do.

Being able to stay true to myself in the creative process has been key. Of course, passion alone doesn’t ensure success; it also requires discipline and stamina. Concordia taught me that.

You also need to show up, stay organized and be open to learning. That foundation has been crucial. So has the sense of community that Concordia instilled in me. I came from a place where everything was small and DIY, and then I got to see the scale of what it takes to bring a production to life. Understanding that collaboration and appreciating the talents of others has been an integral part of my work.

What advice do you have for students who may want to follow in your footsteps?

BKD: The most important thing is to stay authentic. You need to find your true self and bring that to your art, even as that self evolves over time. Don’t try to be something you’re not. There’s a place for you in the arts, and it’s that uniqueness that makes your work stand out.

Passion is key, but persistence is just as important. The work isn’t always easy, but it’s the dedication that pays off.

Success doesn’t always look like awards or recognition; it can simply mean being content with what you create. And remember, always be open to learning. No matter how long you’ve been in the game, there’s always more to learn. Stay humble, and never let your ego block the flow of new knowledge. The arts community is stronger when we share and pass on what we’ve learned to the next generation.

How does it feel to be a Great Concordian?

BKD: It’s an honour. Honestly, I can’t quite believe it. Concordia has so many remarkable alumni, so I don’t take this recognition for granted.

It feels wonderful to have my hard work acknowledged. Sometimes, when you’re in the thick of it, it’s easy to forget to celebrate milestones, but moments like this remind you that your efforts matter. It’s gratifying to be recognized by my alma mater, and I’m truly grateful for it.