Daisy Thompson is a European settler who lives on the unceded territories of

the Skwxwú7mesh, Səl̓ílwətaɬ and xʷməθkwəy̓əm First Nations. Through dance performance, teaching, and writing, she seeks to extend ideas of the dancing body as a key site for the questioning and interruption of logics of control in relation to culture and identity. She sees dance as a way to return the body to its power - to re-discover its kinetic energy and more importantly the capacity of its reach. Daisy has had the pleasure to work with Trisha Brown Dance Company (USA), Eva Karczag (Amsterdam), Emmalena Fredriksson (Sweden/Vancouver), Ugo Dehaes (Belgium), Lee, Su-Feh (Vancouver), Mascall Dance (Vancouver), O’dela Arts (Vancouver), The Frank Theatre Company (Vancouver), and Ruby Slippers Theatre (Vancouver), amongst others. She has been published in the Performance Matters Journal and the Canadian Theatre Review and is currently teaching dance technique and movement at Simon Fraser University (SFU) and the University of British Columbia (UBC). Daisy is also close to completing her PhD at SFU.

I am in my family church in my usual place, near the back, on the aisle. It is a large church with over 2000 members. It is a regular Sunday morning service. Way down near the front, I watch someone stand and start to walk up the aisle toward me. This is during the service, the pastor is preaching. I assume this person is going to the bathroom or something. I see that he is older than me, in his mid-twenties or so. He is wearing a suit. He is moving swiftly, silently up the aisle toward me. When he gets to me, he stops suddenly, in mid-stride, like someone pushed pause on the remote. It is not possible for a human being to stop like that. I turn my head to look at him. He is absolutely still, stuck in mid-stride. He turns his head to look at me. A sneer on his face. A beautiful face made horrible by this sneer. I wake up.

Bingham is one of the pioneers of Contact Improvisation, a dance form that emphasizes flow and the cooperative exchange of weight between partners. The "touch and tumble" of Contact is a hallmark of much of Peter’s choreography, lending both athleticism and graceful elegance to his partnering and ensemble work.

Bingham has created over 50 choreographed works and performed in hundreds of improvised performances in theatres, dance festivals and universities across Canada, the United States, Europe and Asia.