Before officially meeting Siphesihle November, the internet had already introduced me to him. Through Instagram, I’d seen the National Ballet of Canada’s (NBOC) principal dancer adorned in head-to-toe Chanel at a runway show in Paris; he was personally invited by the Maison. I’ve been left misty-eyed after watching an 11-year-old Siphe, as he’s known, comfort and hug his older brother Mthuthuzeli in a film by the Canada National Ballet School as he was preparing to leave the place where he was born – Zolani, a small township outside Cape Town – to train as a ballet dancer in Canada.
And then I properly shed a tear after watching video clips of My Mother’s Son, a dance production composed by the now award-winning choreographer, Mthuthuzeli, who lives in London. In the dance production shown at the Fall For Dance North 2022 Festival, the brothers move elegantly in their Xhosa garb, receiving a standing ovation from a British crowd. Five years older than Siphe, Mthuthuzeli moved to the UK a few years after Siphe left for Canada. He won the Best Choreographer or Movement Director Award at the Black British Theatre Awards in November 2024, and is quoted as saying his younger brother is his hero for inspiring him to pursue dance beyond the kwaito dances they used to perform together in Zolani.
Even at 170cm, Siphe is a giant – both in talent and ambition. The youngest of five children, the 26-year-old South African now calls Toronto home, but his journey from a small township to the grand stages of ballet is nothing short of inspiring. He’s shorter than the average principal dancer, but defying gravity is what he does – he became one of the youngest principal dancers in NBOC’s history. Siphe’s artistry has been evident in roles such as Siegfried in Swan Lake, Peter in The Nutcracker, and Mercutio in Romeo and Juliet. Beyond performing, he has expanded into choreography, debuting On Solid Ground in 2022.
By the time I meet Siphe over Zoom, I can’t wait to learn more about him. While talking, we bond over our love for Oprah and both of us believing she’s our fairy godmother (no, seriously), I find out that he can play the piano, and I discover that he’s coming to South Africa this month to perform with Cape Ballet Africa.
His mother named him “beautiful gift”, and he embodies every aspect of his name. I guarantee Siphe’s incredible story will move you to believe that perhaps, if you’re crazy enough to have a dream, you may not only leap towards it and have the forces of the universe carry you, but you may soar to heights even you couldn’t dream of.
Q: Where are you right now?
I’m in Florida, but on the Gulf side. My Canadian grandparents have a place here, so I’m spending some time with them. It’s nice to have a break from Toronto, especially considering how cold it gets there in winter. I had to escape for a bit!
Q: You’re heading to South Africa soon. Can you tell us about your upcoming performances?
I’ll be performing in March with Cape Ballet Africa. The official announcement will be made soon, but I can share that I’ll be performing a piece by Nacho Duato called Manso, originally created for the American Ballet Theatre. It’s a male trio, and the evening will be a mixed bill featuring a combination of classical and contemporary works.
Q: Will you be visiting your family while you’re back home?
Absolutely. That’s one of the biggest reasons I want to perform in South Africa more often – I miss my family and want to be a bigger part of their lives. Every time I go home, I feel inspired, and I want to do more. Spending time with my nieces and nephews, reconnecting with my community – it’s really important to me. I love performing internationally, but there’s something special about bringing my work back home, where people see themselves in me and in the stories I tell on stage.
Q: You speak multiple languages. How has that shaped your experiences abroad?
I speak Xhosa, English, and Afrikaans, and I’ve studied French. Xhosa is my home language, and it’s the language I use when I’m home with family. When I moved to Canada, English became my dominant language out of necessity. Afrikaans was something I picked up during my schooling in Montagu, and even though I don’t use it as much now, it’s still part of me. Learning French was challenging – I took it in school, but never fully embraced it because I was already adjusting to so many life changes by the time I was 12. I’ve found that language is more than just communication; it’s about connection. Speaking multiple languages allows me to navigate different cultural spaces. When I perform internationally, I enjoy immersing myself in different linguistic environments – it helps me to understand the nuances of the people I’m working with, even if I don’t speak their language fluently.
Q: Your life has been about navigating duality. Can you tell us about the experience of living between two countries?
Growing up in South Africa, I always knew I wanted to leave Zolani and pursue my dreams abroad. But when I moved to Canada, I suddenly found myself in a space where I was different, and that was a challenge. For years, I felt caught between two worlds – too Canadian when I was back in South Africa, and too South African when I was in Canada. I struggled to find where I truly fit in. There were moments where I felt disconnected from my own roots, and moments where I felt like an outsider in the ballet world because there weren’t many dancers who looked like me.
It wasn’t until I embraced both identities that I found peace. I realised I didn’t have to choose between being South African and being Canadian – I could be both. Now, I carry both worlds with me, and they inform my artistry in unique ways. My South African heritage gives me a deep sense of rhythm and storytelling, while my Canadian training has given me technical discipline and a global perspective. It took me a long time to get to this place, but now I see my dual identity as a strength rather than a challenge.
Q: Your brother, Mthuthuzeli, is also a dancer and choreographer. What has your relationship been like, and how has he influenced your career?
My brother is one of my biggest inspirations. Growing up, he was the first person I saw fully commit to dance, and he made me believe that it was possible for me, too. He’s an incredible artist and storyteller, and I’ve always admired the way he moves – there’s such a deep emotional honesty in his work. We’ve had the chance to work together, most notably on My Mother’s Son, which was a powerful and personal piece for us. It was one of those moments where we didn’t have to talk much – our movements just connected naturally. There’s an unspoken language between us when we create together. Thuthu pushes me artistically, and I push him too. It’s a blessing to share this journey with him, and I know we have so much more to create together in the future.
Q: Your mother, Nomasiniya November, has played a significant role in your journey. Tell us about her influence.
My mother is my world and my greatest source of strength and inspiration. She made incredible sacrifices to ensure I could pursue my dreams. She always believed in me, even when I was just a child dancing around our home. When the opportunity came for me to move to Canada, she let me go despite how difficult it must have been for her. That kind of love and selflessness is something I carry with me every day. She’s the reason I never give up. Every time I step on stage, I think about her. I dance for her, for her sacrifices, for her belief in me. Everything I achieve is, in many ways, because of her unwavering support and love. Seeing her proud, knowing that she sees the dreams we once spoke about come to life, is the most rewarding feeling in the world. I told her I’d dance on world stages, and I made it happen. I’m glad she’s seen me on stage in Canada, making my dreams come true.
Q: What’s next for you?
More performances, more choreography, and hopefully, more opportunities to give back to South Africa’s dance community. I want to continue pushing boundaries in ballet and making space for other young dancers to follow their own paths. I also want to keep growing artistically, exploring different forms of storytelling through movement, and seeing how I can merge my South African identity with the work I do globally. There’s so much still to learn, and I’m excited for what’s ahead.
