les ballets Jazz■ drfiontreal

Summer Session Session d'ete '83 June 27 - August 28 27 Juin - 28 Aout

CURRICULUM: JAZ.Z - BALLET - TAP

MUSICAL THEATRE THEATRE MUSICAL MODERN (LIMON) MODERNE (LIMON) WORKOUTS AEROBIC JAZ.Z

CHOREOGRAPHIC ATELIERS WORKSHOPS CHORtGRAPHIQUES with Company Members Avec membres de la compagnie

WRITE TO RECEIVE OUR BROCHURE ECRIVEZ-NOUS POUR RECEVOIR NOTRE DtPLIANT

MONTREAL TORONTO QUEBEC LAVAL 1231 Ouest Ste. Catherine 207 Adelaide St. E. 777 Cote des Glacis 1950 est, Blvd. de la Concorde Montreal, P.a. Toronto, Ont. Carre d'Youville Duvernay, Quebec tel. (514) 849-6071 M5A 1M8 Quebec G1R 3R1 H7G 4P5 tel. (416) 862-7114 tel. (418) 694-0244 tel. (514) 669-9211 Issue Number 35 Spring 1983 Printemps

Michael Crabb Editor/Redacteur FEATURES

Holly Small "As God and the Spirits Would Have It" 2 Assistant Editor/Redactrice adjointe Paula Ross and Company Leslie Manning 7 Jack Cunningham PETER RYAN Advertising Representative/Publicite

Charters Litho Inc. Photo-Gallery: The Experimental Scene 9 Production MARY REID

Published quarterly by Dance in Canada Association (a non­ Les Ballets Jazz: A Tough Decade 14 profit organization. registration .lt0022 1-22-23) 38 Charles Street East. Toronto, M4Y !Tl , Ontario, (416) 92 1-5169. Genevieve Salbaing Speaks Out Peggy Macleod Managing Di rector. The views ex pressed in PAUL CITRON this publication are not necessarily those of Dance in Canada Association. All rights reserved. CopyrightCI 1983 by the Dance in Canada Association. Subscript ions: $10/year; $ 18/ two years; $15 institutions. Outsi de Canada add $3.00. Back issues are ava il able in microfi lm from Mi cro media Ltd .• Sing the Body Elastic 17 144 Front St. West, Toronto. Ont. M5J 2L7. Limited copies of back issues are available at $3.50 each fr o m the editori al Stretching Techniques Old and New office. Send change of address. subscription o rders, back issue orders a nd undeliverable copies 10 Dance in Canada. 38 G.H. VAN GYN Charles Street East, Toronto M4Y ITI, Ontario. Printed in Brampton, Ontario by Charters Litho Inc .. Second class mail registration #03874. Ret urn postage guaranteed. ISSN 0317- 9737. DEPARTMENTS Unsolicited manuscripts cannot be returned unless accompanied by a sta mped, self-addressed enve lope. Dance in In Review 21 Noticeboard 37 Canada publishes in offi cial language of origin. Special thanks to The Canada Council and The Ontario Book Beat 34 Dance at a Glance 44 Ministry of Citizenship and Culture.

Publi cation tri mestrielle de !'Association Danse au Canada {organisation a bu1 non lucratif, numfro d'enregist rement COVER: 002221-22-23), 38 Charles Street East. Toronto M4Y !Tl. Leslie Manning in Paula Ross's Space Platform ( 1982), photographed Ontario (4 16) 921-5 169. Directrice adm inist rative: Peggy Macleod. Les opinions ex primCes dans cette revue ne sont by Ismail Farahani. pas nCcessa irement celles de !'Association Danse au Canada. Tour dro its rC se rvC . CopyrightC 1983, l'Association Danse au Canada. Abonnements: un an: $ 10, deux ans: $ 18. institutions: $ 15 . Etranger: ajo uter $3. Pour obtenir d'anciens numCros sur microfilm, s'adresser 3: M icromedia Ltd., 144 Front St. West, Toronto, Ont. M5J 2L 7. Un numbre limitC CREDITS d'anciens numC ros sont disponibles au bureau de la rCdaction Ismail Farahani, page 2 Robert Etchevery, page 30 a $3.50 le numCro. Adresser vos changement d'adresse. demande d'abonnement. commande d'anciens numCros et Victor Dezso, page 5 Lesley Les lie-Spin ks, page 32, 33 taus numCros no n livrCs a Danse au Canada, 38 Charles E.P. Hagan, page 7 Barry Gray, page 37 Street East, Toronto M4Y ITI. Ontario. ImprimC a Brampton, Ontario par Charters Lithe Inc., N° Ian Westbury, page 14, 15 Imagery: Saskatoon, page 37 d'enregistrement de courrier de seconde cl asse: 03874. Frais de retour garantis. ISSN 0317-9737. John Durkin, page 18, 19 Jerry Davidson, page 38

Les manuscrits ne seront pas retournCs sauf s'ils ont C1C Deborah Shulman (cartoon), page 19 Jamie Crosby, page 43 commandCS o u s"ils som accompagnc-s, d·cne er.,e ppe ad.CSSCC Andrew Oxenham. page _ I, 25. 26 Paul Pascal (cart oon), page 43 et afTranchie. Dansc au Ca ... l'm ;i__-.· t- _ ::z- _:-_­ langue d'ongme Da\ id Cooper, 2 DANCE IN CANADA "As God and the Spirits Would Have It" Paula Ross and Company

By Peter Ryan

"I could afford being a snark when I was twenty-five. I could even afford to be defensive when I was thirty-four. At forty, I think I'd like to be a recluse with the work and stay away from the rest of it." Paula Ross laughs when she admits this, but it's not that far from the truth. Dances have been pouring out of Ross for almost two decades now, but she feels that she's done her best work only in the past few years. Her present phase dates from the first performances of Coming Together, the work that has become the best known and most powerful piece she's ever done. Inspired in part by the plight of native people, who form a disproportionate segment of the penal population, Coming Together is about edges, madness, about how much abuse a human being can endure before the internal systems break down. Basically it's about survival, and thus refers indirectly to Paula Ross's own battles for the freedom to do what she wants most in this life: to make some dances and simply to live with them for a while. Coming Together is one extended body-punch, a lung-searing crescendo of energy that achieves its effect without resorting to graphic displays of violence. No pretty stuff here. It's a jabbing array of kicks and jumps, of self-protective spins, of movements repeated to the point of exhaustion, Paula Ross of erratic irrational behaviour brought on by life in a static irrational environment. The dancers assault each other, they lose their humanity, becoming hyperactive masses of muscle and sinew. It's like Paula Ross est choregraphe depuis bientot vingt ans. Elle a une personnalite witnessing an execution. intense et complexe et une attitude directe ne laissant aucun compromis sur ses A person has one main thought in opinions et ses aspirations artistiques. Apres des etudes de ballet iI Vancouver, sa a lifetime, maybe only one story to ville natale, elle est devenue danseuse de cabaret et s'est presque lancee comme tell. Perhaps a choreographer creates one comedienne humoristique. Paula Ross a une grande compassion pour /es victimes life-long dance. Paula Ross wrote the de malentendus et de /'injustice humaine, elle-meme ayant connu des periodes de following notes for a concert of her souffrance et de difficultes. Ce n'est que maintenant, par exemple, qu'elle se sent recent dances: "The images and totalement retablie d'un accident de voiture qui a failli lui couter la vie ii ya dix perceptions I am dealing with in ans. Elle travaille avec une grande rapidite et bien qu' elle ait etabli son propre these pieces are meant to relate and vocabulaire du mouvement, son imagerie s'inspire de sources diverses. A son avis, entertain the audience as coloured pieces ses meilleures choregraphies sont cell es qu' e/le a creees dans /es dernieres annees. of glass put together to delight and DANCE IN CANADA 3

:1trigue the spectator. They are meant to (I am large - I contain multitudes.) she was too young, she wasn't yet tough thought over and played with, She loves to talk. You sit down over a enough, and she had no connections. opefully for future recall". beer, she with her everpresent cigarettes, The Living Theatre and other avant­ But even if the teller has only one tale, and you begin. It doesn't really matter garde movements were flourishing, and :he choreographer has to use human where you start. The conversation takes Ross would have loved to be involved, dies to tell the story. Paula Ross has its own turns anyway. This is both but she felt that she had nothing special •old her story on the bodies of scores of frustrating and appealing. You're to offer, so she left. cancers over the years, and a handful looking for facts, details, names, events, With a solid sense of where she ave remained as constants. The but they don't come, or at least not in wasn't, Ross eventually found herself on ajority have simply come and gone, the order you expected. Instead you find the American west coast doing stand-up some more than once, some cursing and yourself winging it with Paula Ross - comedy with Donald O'Connor. She .::rying, some with quiet resignation. ideas, pronouncements, intuitions, a loved it, hearing her voice through a These are facts of life when a dancer dollop of people, places and anecdotes microphone and people laughing in -booses to work with a strong thrown in for good measure. It's crazy response. It quickly led to an offer to ~boreographer. and amusing but it could all be a become a comedian, but she realized a fabrication, because this woman's a couple of important things very early in ··Some claim she has a tendency to storyteller. In this instance, historical that game, and it most likely saved her. sabotage her own progress." fiction is much more than a literary One was that if you started cracking genre. "I'm telling you the truth", she jokes about yourself, it became a mirror Predictably, changes in personnel have says, "but the next time I tell it, it'll all and it could kill; the other was that she'd resulted in changes in the quality of the be different ... ". Now this isn't to say that most likely have drunk her earnings and she's lying to you. She'll be the first to never made it anyway. Something she dancing. At times the company has been admit that a person has to lie honestly, also learned as she stepped onto the ight and tuned, executing the work Greyhound for Vancouver was that once cleanly, but at other times it has had a which somehow puts it into another distinctly ragged look, its balance and context. It all gets very confusing. you've said no, you've said it for good. Nonetheless, points of reference exist. iming inadequate for the choreography. No one invites you back; it's a one-way Paula Ross was born in Vancouver of Lntil recently, the company has street, whether you like it or not. "red-neck, earn-a-living, Canadian appeared to be an on-again off-again stock". Even though he found ballet affair. True, they're the oldest modern "As God and the Spirits would have it." embarrassing, her father took her to dance company in Vancouver and have class, then stood outside the door so she shown brief bursts of promise, but Back in the rain again, she thought wouldn't take off. Blind in one eye at they've never really taken off. Some hard and decided the only respectable age five, somewhat athletically inclined lame Ross for this, claiming she has a thing to do was to return to ballet. She but definitely a dancer of promise, she tendency to sabotage her own progress became company publicist for the left home at 15 for the show-dance scene because of her behaviour in situations fledgling Pacific Dance Theatre, working in Montreal. She found herself in New demanding diplomacy. But Paula Ross with Norbert Vesak. A year later, in her York in her teens with neither money has never played the political game with own words, she "had it all". From there nor work, so it was back to Montreal, any degree of commitment. Her insight it was back to the States and a tryout then Toronto, then Chicago, all the into those activities is heavily tinged with with the San Francisco Ballet. She made while learning, absorbing, fighting hard, irony. She's to be admired for this, it this time, and this time she lasted six realizing the facts of life in the big city: perhaps, but also criticized. There's more weeks before doing business with the bus God wasn't on the earth for dancers; to a dance company and its fortunes company again. She simply couldn't nobody was looking for anyone with than making dances, as Ross may finally stomach one more chorus line with low talent; you were just a piece of meat. be realizing. Street dealings, the cut and pay. She was a fish out of water; her Success stories are made on earth. You thrust without the veil, have their world was different - the difference can't get away with anything in show li mitations. Ross admitted recently that between the studio and the street. Ross business; someone will get you on it. If the company had to be organized so that had little in common with the you have talent and hustle, you'll still the pattern of the past years wouldn't pasteurized ballerinas of the San need luck and strength; no one is going recur. (To this end, Paula Ross and Leslie Francisco corps. In Vancouver, she to hand you anything. It's tough but Manning now share the post of artistic looked around and said to herself, true. director, while former arts journalist "choreographer". She'd never Lana Hills is company general manager.) Strathcona Park is a power dance, full choreographed a thing in her life. Ross calls herself a Scots Indian, a of swirling capes, masked faces, Paulatics is an eclectic ramble through breed. One of her favourite phrases, "As revolving bodies and sculptural what-is-never-quite-clear-and-it­ God and the Spirits would h?ve it", tableaux. There is rarely a single doesn't-seem-to-matter. The scale of reveals a dual faith and also llluminates focus; the eye can wander freely movement ranges from tiny to epic. an essential trait. She assigns the power because central action isn't the point. Its sleepwalking figures, rolling of events to forces, conventional or All action has its own significance. intertwined bodies, soldierly otherwise, beyond herself. Yet this isn't The dance exerts immediate visual battallions, horses and riders lodge always so; the woman can be powerfully and kinetic appeal, but it has an themselves firmly in our imaginations personal and specific when it suits her. It effect on the mind that accumulates and refuse to move on. It is neither could be Paula Ross speaking in Walt and lingers beyond 1he blackout. obvious nor obscure. Whole sections Whitman's Leaves of Grass: Paula Ro , in her late 1een , in the arise from another source than Do I contradict my elf? late fiftie , left '-."e\\ Yor' and the big ex1ernally dictaled style. Very well. then. I comradi t m~ elf: cnies o the Ea I becau e. as he admits, Her first group was a bunch of 4 DANCE IN CANADA

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They transform, as does any art form in "None of us really wanted to be there. snark, to be defensive, even to be a which the medium is live, breathing She [Ross) came in with her coffee and recluse. In very real terms, it's perform bodies. Call it a contingent imperative. was obviously not in very good shape, or perish. Performing is saying things; The perception of change arises because not bright and alert. But you got the Paula Ross still has things to say. "You the work has a layered look, the details· sense of her recognizing that she had to can claim that you don't care about coming from different directions on get on with it, gripping herself, getting communication", Ross states flatly, "but different bodies at different times, Leslie herself under control and then teaching in the final analysis that's what you're Manning wearing it with deadpan ease, this amazing class. I admired her ability doing it for". D Dean Smith with his half-smiling, to let go and sag, then with inordinate Peter Ryan is a Vancouver-based deceptively mild intensity, or Anne strength just amalgamate everything and dancer/choreographer and Harvie with her elongated poise. The proceed on the line she wanted to go." writer/broadcaster. The reviews quoted work is athletic, very masculine in a non­ The time has passed for Ross to be a are those of Mr. Ryan. aggressive mode.

"At its core, the company is her."

Ross has what she calls her "modern lines" that derive from painting, the colours and the form, the qualities of Plan To Attend those lines. There's also a positional quality to the choreography, what one dancer called the "hit and hold" style. The 11th Annual The work isn't so much about flow as it is about positions, the getting to and the getting out of less important than the being there. Transition is not the key to Dance in Canada this work. Another dancer referred to the process as working on still photos of a very idiosyncratic kind. Conference The images parade by, one behind the other, burning into the retina, decaying and reforming elsewhere. June 8-12, 1983 We find ourselves supplying the route from one picture to the next, as if she'd conned us into falling asleep, University waking. falling asleep, all through the of Saskatchewan dance. Yet we don't feel as if we've Saskatoon missed anything. Her tribal metaphor has enveloped us again, future primitives in the blackness.

It's difficult to talk about this company without discussing Ross herself, because at its core the company is her. The history of the Paula Ross Dance Company is the history of Paula Ross. Much of the company's progress has originated with her. But one person can't run the whole show, hence the new Dance Footwear Leotards arrangements. Previously, if Ross Johnny Brown Helenca couldn't abide the politics of a situation, Gamba Lycra promising plans might evaporate. She Freeds Cotton/Lye ra striped wants to succeed, but she wants it on her Eva own terms. When she says that she'll Theatrical Make-up stay right where she is if it means having Tights: and all types of to compromise, she's serious. The work make-up for Halloween comes first. It won her the 1977 Chalmers Award in Choreography, the ON/OR ABOUT MARCH 1st, 1983 year after Coming Together. Many artists go through times when they'd like to leave the whole business ,,,NEW - LOCATION behind, to separate the art from the life. 84, Yorkville Avenue It's not easy; the studio has to be faced. Toronto, M5R Hi9 Daily. One of Ross's former dancers Telephone: (416) 921-6543 recalls a particular Saturday morning: DANCE IN CANADA 7

Leslie Manning

When Leslie Manning read the first Columbian and, like Ross again, also confirmed something that she critique of her dancing in one of the expresses no desire to establish herself in already knew: Vancouver was a good local papers she was devastated. The Toronto or New York. She's always town to come back to. writer called her the least emotional gone away with the express intention of There's something else. Manning dancer he'd ever seen, "cool, detached learning things to bring back to the thinks that Paula Ross is brilliant, that and strangely controlled". After the studio. In 1977, she went to Toronto to her choreography is unique. "An artist's initial shock had worn off, she read it study at the Toronto Dance Theatre, work always reflects and is influenced by again and found it to be more then went to the Cunningham studio in the part of the world they live in", she complimentary. The reviewer went on to New York. She was comparing herself, feels . "It can still qualify internationally describe her as: "A remarkable dancer, and departed with the confidence that as good art. It seems to me that as an almost naive in her movement, with she could hold her own as a dancer artist I can do my best work with a arms that move directly and finally to anywhere. This realization made it easier choreographer from this part of the their position, but ... are as casual as to return to Vancouver; she knew that world, so there's a very strong though she were taking paint from the she wasn't hiding herself as a dancer. It connection. It's natural that her work shelf". - A few years later, Max Wyman remarked of Manning's dancing that, "its air of strength and intensity is invested now with a natural warmth ... " . Clearly, Manning was developing a presence in performance that was the match of her technique. Manning first saw Paula Ross's choreography at a Vancouver Art Gallery performance. "It took the top of my head off', she recalls. She loved it immediately. Manning is of medium height, with long brown hair and small features. She walks with a touch of tightness, yet she can abandon this at a moment's notice. Some attribute the tight body look to the Ross choreography, but maybe a certain personality is attracted to the work in the first place. Manning, like Ross, is a native British

Tout comme son inspiratrice Paula Ross, Leslie Manning est originaire de Colombie-Britannique. Elle se sent satisfaite de son role en rant qu'interprete des choregraphies de Ross. Lorsqu'elle a quitte la compagnie pour etudier ailleurs, c'etait toujours dans l'idee d'y retourner avec un apport enrichissant pour son travail a Vancouver. Leslie Manning possede une grande discipline, et comme co-directrice artistique de Paula Ross, elle est un exemple pour la compagnie. Lesl ie Manning in Paula Ross's Untitled. DANCE IN CANADA 5 clancers from the Vancouver club scene. She claims she never formed a group in · er life, but when they had a meeting about a name for themselves, she laid it out. "They all sat around the table and came up with these great names. Well I came from show business and if I was paying the rent, then I'd call it my name, then I could be responsible for it. I wasn't there just to fool around. So we called it my name. But they weren't erribly pleased about it. In those days I used to get notes saying, 'You are too committed and powerful. I have to ~xpress myself and there's not enough room in this vehicle'. But the thing 1s, non~ of the people who wrote those notes are working now. Maybe that's God and the Spirits. Who knows about .hat? "

·'She can be vindictive, temperamental, tactless and self­ indulgent." The Paula Ross Dance Company in Strathcona Park. Whatever plans Ross had were -uddenly cut short by a serious car accident that nearly killed her. A main temperamental, tactless and self­ opening section is still a chilling array artery in her head was severed, and it indulgent. If you asked her, she'd of black figures reminiscent of "erased my tapes"; among other things probably admit it. She's nothing if not Japanese ninja, looking for all the Ross lost her spatial perception and the honest. In the last analysis, you don't world like a horde of M. C. Escher ability to count. It's her own opinion look for excuses. You simply live it, or gnomes on a tear. But the garbage that she's only now getting back to live with it. Ross lives it. cans arrive silently now, and the normal, almost JO years later. After the There's another side as well. She's a dancers balance delicately on the accident she decided she wasn't going to warm, funny, compassionate and rims, the lids serving as hats. The work again; she'd stay home and collect eminently sane woman who invites you music chugs along, a burping bop- social security. It took a call from her into her world in a prepossessing bop chant of brass, as the dancers old ballet teacher, Mara McBirney (who manner. Her sensitivity and intuitive mug their ways back and forth across had virtually disowned her when Ross nature ensure that nothing gets past her. the stage. Fifty ways to walk to cover. left town at 15), to get her going. Her She also knows how to make her dancers - Ross works quickly, marking her personal life was coming apart at the want to do her work; she tells them what dances out in big chunks, then filling in sea ms , but she credits Mara McBirney they need to know. They'll tell you they the details afterwards. According to one wit h the well-placed kick that got her love the work that they do; they find of her dancers at the time, she back into the studio and working. It was something of themselves in the choreographed the whole of Paulatics, a tough grind, but Ross found herself choreography. It's something they can one of her major dances, in about a and carried on. believe in. week, but this doesn't include the When she met Anna Sokolow, Paula Paula Ross bases her choreo- months spent mulling it over, chewing it Ross felt an immediate kinship. graphy on a contingency that few and brewing it until it was ready to be Sokolow hated academies, she didn't artists except perhaps the born on the studio floor. Then, in a few like fixed rules, revelled in the lack of experimentalists could tolerate. Ross brief hours, the whole thing was laid out, tradition in modern dance, and wanted holds that one good step is as valid as the lines marked, the dynamics tested. none. She liked argument and another. If so, what is the imperative of She works with a defined range of questioning and confrontation, believed art, its inherent rightness? Ross might steps and movements, but it obviously is in stretching the movement vocabulary, answer that dances, fo r one, aren't fixed no limitation for her. One can see the didn't believe in endings and, according but sliding (as Emerson said of the characteristic style in a viewing of two or to Paula Ross, she hated everything universe); they shift in emphasis and three dances: the lunge onto one leg, about what she was doing except what energy, they grow and mature, they parallel seconds, parallel jumps, the she was doing. Sokolow said, "Do what crumble and decay. Anyway, the artist extended and turned in leg with the you feel you are, not what you think you should be the bad conscience of the pelvis slipped back, the freedom in the ought to be. Go ahead and be a bastard. culture, not the keeper of the crown armpits and the raised shoulders. But T hen you can be an artist" . It could well jewels for the sake of some remote each time you watch the work it seems have been Paula Ross talking. aesthetic expedience. as if something's changed; maybe the There are more than a few in the H alf a year ago, T he Bridge had a piece has been edited, its sections shifted, dance world who regard Ross as a royal distinctly malevolent air; today it compressed, expanded. Ross doesn't let pain. She can be vi ndictive, seems full of humour. True, the her dances sit around gathering dust. 8 DANCE IN CANADA would appeal to me." One dancer said of • Manning says she finds a depth in the company member, who says that Manning, "You can't imagine her doing choreography that continues to fascinate Manning's dancing in itself never anything else. It's the way she best her. "Textures are what the work's impressed her, still paid her a expresses herself'. about. Just when I have a dance figured compliment. She admired Manning's Ross and Manning rarely disagree. out, I find a whole other texture there. I ability to get up early, do Tai Chi, yoga, Currently they share the post of artistic keep finding that out. Paula's dances are go running, come to the studio, teach, director, and they're still seeing how it like puzzles; they've got a sense of and so on through the day. Manning works. Manning feels that the mystery. And surprisingly, I never seem took on dancing and she improved. Her arrangement has potential and that it to know where the dances will end, even discipline was exemplary. will develop as they do. But their points though they're all choreographed If nothing else were important to a of view are subtly different. Manning pieces." dancer, Manning could still point to her cites an instance two years ago when she She seems to represent the perfect diligence as a means to success. "With suggested that they video the choreographer's medium, her technique anything", she says with characteristic choreography. Ross had never taped any and intelligence subordinate to the work. matter-of-factness, "if you stick with it , of her material. She felt that her best She doesn't like to think in performance, you'll get to much deeper levels than if work was yet to be done, so why tape and she doesn't believe in a great show you try many different things". □ those dances? She said simply, "I'll do of emotion, trusting that the emotion is PETER RYAN some more". in the choreography. She's very moved Ross has encouraged Manning to by the dances as dances. choreograph, but she claims to have no Technically, Manning strives to desire. Performing Paula Ross dances is maintain herself in a receptive state. "It satisfaction enough. "A lot of dancers gets harder to stay in shape as you get aren't as lucky to have found a older. Your timing takes on more of your choreographer that they can develop a natural timing. As I get older I find I have really satisfying relationship with", she more difficulty with the different says. " We share a relationship that finds timings." its way into all the dances." One dancer She's also an example to the company, felt that Ross and Manning had a dancer who can do all the exercises, collaborated for so long that they needed then show by example how she makes each other. them useful to her body. A former

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1922 Avenue Road, Toronto, Ontario 206 M5M 4A1 • (416) 782-2292 DANCE IN CANADA 9 Photo-Gallery: The Experimental Scene

By Mary Reid

Photographers who become really try to get straight photography jobs. involved in shooting dance seem to come "Commercial photography is about "Photo-Gallery" presente un groupe away from the experience seeing both giving things a veneer, making them look de photographes de danse dance and photography in a new way. a certain way," he states. "There's a experimentaux. Leu rs photos n' ont Simply having to choose which moments convention, a collective way of looking pas un caractere "commercial" to capture raises questions: why is one at things that's so embedded in us that comme on le trouve par exemple dans moment more photogenic than another? no one's immune to it." /es photos de programme-souvenir It is paradoxical to freeze movement to Slowly he realized that the concerns of d'une compagnie. /Is font une document it and so the photographer the commercial photography world recherche artistique sur le rapprochement de ces deux mediums must push the medium to the limits to didn't really interest him. Thus began a try to capture movement. Along the way, long self-clarification process in which opposes, la danse (un art du it seems, his or her aesthetics are often his eyes were opened about photography mouvement a trois dimensions) et la radicalized. by way of "new music". "I had always photographie (statique et a deux Vid Ingelevics' first portfolio was had a much more developed interest in dimensions). Chacun de ces document,ary work: he had shot candid other areas and this started to influence photographes envisage la danse (et la photographie) dans une nouvelle photos of the interesting people and my photography." Ingelevics attended strange situations he encountered while concerts at The Music Gallery in perspective et explore /es possibilites de creer une relation nouvelle et living in a Central American village. Toronto and began photographing the enrichissante entre /es deux. Ingelevics took this portfolio around to performers he saw there. As he felt

From Yid Ingelevics· Notes From The Greenhouse. 10 DANCE IN CANADA closer to the music, more inside it, he became aware of the distancing inherent in photography. "I wanted to make it a connecting process, not so subject-object oriented. You see photographs that look intimate but of course when you shoot a photograph you're not being intimate. It's paradoxical." He also began to see that there was no such thing as objective photography. "Photographs are things of themselves rather than windows on some kind of reality. Documentary is meant to be truthful photography but when I look at any kind of photograph, I mostly see things about the photographer himself." In 1979, Ingelevics received a Canada Council grant to document new music and dance in Toronto. He went all over town photographing outdoor pieces, activities at the Science Centre and, as before, The Music Gallery concerts. "I discovered with dance that I could be more part of the process than I could with other media. I was already very interested in movement of the camera, so interest in shooting dance logically followed. Dance always seemed so direct Wendy Chiles, Jeannie Teillet, Roberta Mohler and Claudia Moore in Holly Small's Quarrel For to me." Cannibals photographed by Vid Ingelevics. In its ultimate incarnation this led to his current work with the New Music Co-op and the Musicdance Orchestra in which Ingelevics performs with the musicians and dancers on stage. "I'm

Lighr Sculpture, created by Denis Farley. Farley left his camera shutter open for 15 seconds while he skated around a frozen pond carrying a torch. DANCE IN CANADA 11

Abou/ The Eyes by Denis Farley. hoping this work might shake me up if I looking through the viewfinder. The are you ignoring all the other moments? get too entrenched in a way of looking photographs which are the result are I like the whole sweep of the action, the at things. I don't have an image to show much more an interaction with the music peaks and valleys." the audience, just myself and what I look and dance than a clean, documented Ingelevics' interaction with new music like when I'm photographing." He's moment. and dance profoundly changed his trying to free himself from thinking Even the performers who are the personal relationship to photography. In about what the end product will look subjects themselves will often not a sense, his concerns are very simple like. He uses chance to break down his understand the work. "Too bad about now. "The questions I ask through my influence on the photography; with long the camera shake", they'll comment. photographs now are, what is it? why is exposures, he captures movement. "Often people respond to the photos it? The one that started this whole Sometir,nes he even shoots without that show action at its height. I ask, why process was, why do I photograph?"

Slide Over by Irene· Grainger. 12 DANCE IN CANADA

can enter the spaces he creates as if we were among the 20-odd audience members who actually attend one of his intimate performances. In 1981, at the Banff Centre, Farley created an outdoor per- formance work entitled About these Eyes. In it, he explores a very specific site he discovered where the rocks at the foot of a mountain looked like a giant eye. Emphasising the lines of the natural forms, Varley created rope and cloth sculpture which he moved through while the small audience, who had hiked for 30 minutes to get to the spot, looked on. He etched a form like his own shadow in the dirt. "I'm interested in the expression of a presence in the created environment", he explains. Steve McDougall has been taking pictures and dancing ever since he can remember, but in the last several years he's met two people who have helped Francine Bo ucher photographed by Steve MacDougall. him find a clear direction to his work. The first was David McKenzie, his Irene Grainger came at photography alone, dancing with slides, slides alone. design and illustration teacher at the from the opposite direction and her In The Brightest Colour, Grainger Nova Scotia College of Art and Design. concerns reflect this difference. She explored the colour yellow and the He had a particular interest in capturing works in colour slides. "The first roll of emotion that she found it evoked. movement in photography. "He had you film I ever shot I used in a piece. I shot Slides can transform a space. It is this doing movement with the camera, mannequins and skyscrapers in New theatrical effect that she's after. 'Tm exploring space and even shooting video York and I like them so much (the into the big image", she ex plains, "and to slow down the motion and watch Kodachrome colours were beautiful) that I'm into controlling it. I want a specific what happened to the movement." This I incorporated them into a piece I was thing". For Grainger, photography is was ostensibly for a graphic design working on, Overstory." From then on, one other element that interacts with photography course, but for McDougall she used slides in her performances. choreography in performance. the work went far beyond that. "David's "They're so big and sharp and the Denis Farley's performance work very in tune with his mind and his body. colours are so intense. It's like being in often takes place in the country. He is He incorporates that into his looking the movies. I've always felt the interested in working with organic and gets beyond making pretty pictures." connection between slides and film - materials, trees and rocks, creating Then, four years ago McDougall met the continuous and broken image." environments and interacting with them. Francine Boucher. She was working on a Many of Grainger's images are Through his photographs of the work we concert of solo dances and invited him noticeably static - domestic objects, pot scrubbers, tea pots and aisles of bright yellow no-name products - and dancers in tableaux. "I'm into shooting and then looking at the slides in different ways, arranging series and finding an implicit movement between one slide and the next. Then, by adding choreography, a flow between one image and the next begins to establish itself." Sometimes she creates choreography and then shoots pictures to go with it, or, conversly, creates choreography to go with slides she already has. In one piece, entitled If I Could Make My Life the Way I Make My Bed, the two performers moved the projected images by moving a sheet which was their screen. The piece was more about the movement of the image than it was about the performers' movement. In another piece, Slideover, the collage of movement and slides touched on every combination: dancing DANCE IN CANADA 13 to take pictures as she prepared. For three weeks he shot her working in the studio. Up until this point McDougall's training in dance had been centered around ballet. Through photographing Behind every Boucher, he discovered modern dance and, even further, the intensity and struggles that go into making dances. A week into the project, he had a successful dancer revelation. He decided to put the camera down and just watch for a while. He perceived the fluidity and the play of stands a teacher gravity and balance involved in the dancing when seen without the frame. He knew then that he had to try to with fresh ideas. discover a new relationship to the subject in order to capture the essence of dancing. The resulting photographs make you feel as if you are actuall y The National Ballet School dancing with her. In one of them McDougall came so close to her that he Annual Teachers' Course nearly collided - one can sense that June 22 - July 1, 1983 looking at them. His own development as a dancer took an important turn then, too. He threw himself into studying An intensive 10 da_y refresher seminar. Li mon technique with Boucher and has Application deadline June 10, 1983 since come to Toronto to study Graham technique. For the moment his dancing has eclipsed his photography to a large For information contact the Registrar, extent, _but for him, development in one The National Ballet SchoolJ05 Maitland Street, is now intrinsically entwined with Toronto, Ontario M4Y l.i!i4. (416) 964-3780 . development in the other. □

SPRING 1983 TOUR WESTERN CANADA For additional information contact: RWB (204) 956-0183 March 9, Brandon, Manitoba ALLEGRO BRILLANTE, PAS DE DEUX ROMANTIQUE, FIVE TANGOS, THE HANDS March 10, Regina, Saskatchewan ALLEGRO BRILLANTE, LE CORSAIRE PAS DE DEUX, FIVE TANGOS, THE HANDS March 11, 12, Saskatoon, Saskatchewan ALLEGRO BRILLANTE, PAS DE DEUX ROMANTIQUE, FOUR LAST SONGS, RODEO March 15, 16, Edmonton, Alberta GISELLE featuring Hart/Kaminski, Bennet/Peregrine With t he March 17, 18, Calgary, Alberta assistance GISELLE featuring Hart/ Kaminski, Bennet/Peregrine o!the ~U March 19, 20, Lethbridge, Alberta '{O~t\C~ OUR WALTZES, LE CORSAIRE PAS DE DEUX, FOUR LAST SONGS, RODEO 0 oithe Canada March 21, Kamloops, 8.C. Council ALLEGRO BRILLANTE, PAS DE DEUX ROMANTIQUE, FIVE TANGOS, RODEO March 24-27, Vancouver, B.C. GISELLE with Evelyn Hart & Richard Cragun/Ann Marie De Angelo & David Peregrine March 28, 29, Victoria, B.C. ALLEGRO BRILLANTE, PAS DE DEUX ROMANTIQUE, FOUR LAST SONGS, RODEO SAVE $2 OFF THE NEWSTAND PRICE!! Please send me a full year's subscription (4 issues) to Dance in Canada. M_ 14 DANCE IN CANADA cheque or money order for $10 ($2 off the newstand price) payable to Dance i Canada is attached. Les Balle1 my name ______address ______city ______province _ ____ code ______Genevieve Please send a gift subscription to Dance in Canada to: by Paula Citron my name ______address ______city ______province _____ code ______Les Ballets Jazz de Montreal celeb1 leur J0eme anniversaire en avril pr, Total amount enclosed. Outside Canada, please add $3 pe a la Place des Arts. Ce sera la Joie subscription. All orders must be accompanied by payment. Please send your cheque o /es danseurs, mais leur directrice money order to Dance in Canada, 38 Charles Street East, Toronto, Ontario M4Y lTl artistique, Genevieve Salbaing, se 1 mains a la perspective des lendemazns ae director Genevieve Salbaing, although personally guaranteed the the company's fete face aux difficultes financieres. Les the anniversary will be a triumph of her $165,000 deficit, does Les Ballets Jazz Ballets Jazz n' ant jamais connu de determination in the face of adversity, continue to operate. She, herself, has stabilite fiananciere. A leurs debuts, ils ant , she also knows that following all the never taken a salary. The company has beneficie de bourses de la Section de la hoopla, the company will be plunged benefited from the Salbaing family danse du Conseil des Arts du Canada. I back into the financial uncertainty that connection in other ways too. Daughter­ Maintenant, et bien qu'ils soient patronnes ' has plagued Les Ballets Jazz throughout in-law Caroline is the director of the par d' autres organism es - dont I' Office des its existence. schools and company administrator. At tournees du meme Conseil des Arts - la The story of Les Ballets Jazz and the one time or another, all four Salbaing Section de la danse leur refuse des Canada Council is now so familiar that sons have helped out. Patrick, an MBA subventions de fonctionnement. D'apres it has become a litany. Canada's most student, manages the Toronto school Genevieve Salbaing, cette situation nuit successful contemporary troupe receives which he took over following a dispute aux aspirations artistiques de la no operating grants from the Council's with the previous management. compagnie. Elle n'accepte pas /'opinion du dance section. As a result, not even the Chartered accountant Michel and Conseil des Arts qui ne considere pas leur sell-out box office receipts from around international lawyer Christian have lent style de ballet-jazz comme une forme the world, grants from other quarters their expertise while, during the d'art. A 61 ans et malgre des moments de such as the Quebec government or the company's recent visit to South America, decouragement, Genevieve Salbaing music and touring offices of the Council, Spanish-speaking Frarn;;ois acted as tour maintient de profondes attaches la a corporate donations or the profits of its director. The only one not involved in compagnie et au style qu'elle represente. auxiliary dance schools, can cover the the company is Salbaing's businessman husband, Pierre, who, as she says, "thinks I'm a crazy fool!". The lack of an operating grant from Ottawa leads to problems which have become a way of life with Les Ballets Jazz. Salbaing explains: "No money means we are always short staffed. We have one admin'istrator, one technical director, a part-time secretary and me. Also, the company always has to tour in order to make money which means we have barely enough time to rehearse new works and we can't do choreographic workshops. The life is very hard on the dancers who burn out after seven or eight months a year on the road. We can't afford a twelfth dancer which we need as our rep is geared to ten. With just one float, injuries can be costly. We have no money for repetiteurs; the dancers teach each other the parts and so we lose consistency and there are lots of fights. The morale of the dancers is also affected by the lack of recognition. Everytime I tell them that the grant has been refused, it is a personal blow. I tell Genevieve Salbaing in rehearsal. them that the revenues and the public 14 DANCE IN CANADA Les Ballets J8zz: A Tough Decade Genevieve Salbaing Speaks Out by Paula Citron

' On April 12 this year, when Les Ballets costs of running the I I-member Les Ballets Jazz de Montreal celebrent Jazz de Montreal celebrates its 10th company. Thus, with each successive leur J0eme anniversaire en avril prochain anniversary at Place des Arts with three inflationary year, Les Ballets Jazz slips a la Place des Arts. Ce sera la Joie pour glittering premieres, one person will be further into debt. !es danseurs, mais leur directrice joining in the festivities with mixed Only because Salbaing is a wealthy artistique, Genevieve Salbaing, se rejouit feelings. For the company's artistic woman in her own right and has mains a la perspective des lendemains de director Genevieve Salbaing, although personally guaranteed the the company's fete face aux difficultes financieres. Les the anniversary will be a triumph of her $165,000 deficit, does Les Ballets Jazz Ballets Jazz n' ont jamais connu de determination in the face of adversity, continue to operate. She, herself, has stabilite fiananciere. A leurs debuts, ifs ont , she also knows that following all the never taken a salary. The company has beneficie de bourses de la Section de la hoopla, the company will be plunged benefited from the Salbaing family danse du Conseil des Arts du Canada. I back into the financial uncertainty that connection in other ways too. Daughter­ Maintenant, et bien qu'ils soient patronnes ' has plagued Les Ballets Jazz throughout in-law Caroline is the director of the par d' autres organismes - dont I' Office des its existence. schools and company administrator. At tournees du meme Conseil des Arts - la The story of Les Ballets Jazz and the one time or another, all four Salbaing Section de la danse leur refuse des Canada Council is now so familiar that sons have helped out. Patrick, an MBA subventions de fonctionnement. D'apres it has become a litany. Canada's most student, manages the Toronto school Genevieve Salbaing, cette situation nuit successful contemporary troupe receives which he took over following a dispute aux aspirations artistiques de la no operating grants from the Council's with the previous management. compagnie. Elle n'accepte pas !'opinion du dance section. As a result, not even the Chartered accountant Michel and Conseil des Arts qui ne considere pas leur sell-out box office receipts from around international lawyer Christian have lent style de ballet-jazz comme une forme the world, grants from other quarters their expertise while, during the d'art. A 61 ans et malgre des moments de such as the Quebec government or the company's recent visit to South America, decouragement, Genevieve Salbaing music and touring offices of the Council, Spanish-speaking Franc;:ois acted as tour maintient de profondes attaches a la corporate donations or the profits of its director. The only one not involved in compagnie et au style qu' elle represente. auxiliary dance schools, can cover the the company is Salbaing's businessman husband, Pierre, who, as she says, "thinks I'm a crazy fool!". The lack of an operating grant from Ottawa leads to problems which have become a way of life with Les Ballets Jazz. Salbaing explains: "No money means we are always short staffed. We have one administrator, one technical director, a part-time secretary and me. Also, the company always has to tour in order to make money which means we have barely enough time to rehearse new works and we can't do choreographic workshops. The life is very hard on the dancers who burn out after seven or eight months a year on the road. We can't afford a twelfth dancer which we need as our rep is geared to ten. With just one float, injuries can be costly. We have no money for repetiteurs; the dancers teach each other the parts and so we Jose consistency and there are lots of fights. The morale of the dancers is also affected by the lack of recognition. Everytime I tell them that the grant has been refused, it is a personal blow. I tell Genevieve Salba ing in rehearsal. them that the revenues and the public Discover Canada's DANCE IN CANADA IS Exciting World of Dance for nly $10 a Year!!* $2 savings off the newstand price

that it has become a lifany.

Subsequent grant applications have been rejected with variations on the same themes. For its part, Council representatives claim that Les Ballets Jazz has been reluctant to open up its school accounts which the Council says is necessary in order to determine the Les Ballets Jazz in Benoit Lachambre's ]'.freak assez. money being fed from the schools to the company. Salbaing categorically denies this charge. She suspects that there is a all ethnic dancing and we do not Salbaing, in auditions, looks for hidden motive in the refusal. "We have consider any of these as artistic forms." classical dancers and the company has schools that bring in money and good Nonetheless, Salbaing strongly defends four ballet classes a week. "If you do n't box offices so they think that we can her insistance that only jazz music be have classical lines underlying jazz, you survive. The Council only wants to help used for the repertoire and that jazz have nothing - just wrong placements people with no schools and no public. It dancing, as done by the company, is a and crooked knees", she ex plains. appears it is a crime to be popular. Why valid type of contemporary dance. " All should we be the miracle who must we are doing is dancing to jazz music. "To call us 'commercial" is to call jazz make it on our own?" We are using the pulsating rhythms by 'commercial'." Salbaing, however, does concede what, putting definite steps to them and there in her view, were artistic problems are as many different techniques of "Ballet is the foundation of dance and during the company's early years. dancing used in jazz as there are jazz just as a pianist must practise the scales, " Initially, Eva von Gencsy was the musicians. To call us 'commercial' is to our rep demands ballet training." The company's main choreographer and her call jazz 'commercial'. We are remaining two classes of the six-day works were very repetitive and not transmitting what jazz is through our work week are devoted to jazz and inventive, although her pas de deux were dancing. I'm dedicated to jazz music and modern. Salbaing feels that one jazz very good. It was a craft for her and not I'll do it until I die!" class a week is sufficient since the jazz a creation. For three years, we had JO repertoire is being danced during the ballets that all looked the same because "The life is very hard on the rehearsals. In modern class, all the basic she brought in other people like herself. dancers." techniques including Graham and Limon No wonder people thought that jazz are taught so that the company is dancing had nothing. I brought in Lynn Salbaing goes on to point out the list prepared to receive any choreography. Taylor-Corbett, Real Lamb, Louis Falco of notable choreographers - Canadian As well, there are master classes given by after that and we became a strong choreographers - whose works are in modern and jazz specialists such as Bill repertory company. Every piece has to the company repertoire, among them Gornell from the Falco company and be good. I've commissioned works that Judith Marcuse, Norbert Vesak, and Arthur Plasshaert from Paris. I've paid for but never used because they Brian Macdonald. All three also This training is also found in the weren't up to calibre. Why doesn' t the choreograph for other (funded) successful, bursary-supported Council look at our repertory now?" Canadian companies. professional programs of the fi ve Les The crux of the Canada Council Since the Canada Council also Ballets Jazz schools, founded with the fu nding problem, however, is the very quarrels with the non-modern training of express purpose of creating dancers fo r term "ballets jazz" which according to a the dancers, which means that the the company. All five have produced Canada Council spokesperson, is not an company is not in the genre of dancers who have entered the company art form. "If we fund jazz dancing, then contemporary dance, it is interesting to or other troupes such as Spindrift and the floodgates would open. We'd have to look into the moulding of a Les Ballets Pointepienu. The bursary program has fund such things as ice dancing, tap and Jazz prototype. also fostered a choreographer. Benoit DANCE IN CANADA 15 should be our judge but they are very vulnerable." Although the company received funding during its first three years, in 1975 Les Ballets Jazz was cut off without a dime. According to Salbaing, a letter from the dance section explaining the grant refusal claimed that the company was not artistic. "The letter went on to say that our dancers lack the energy and endurance associated with a professional company and, except for a few pieces by Falco and Taylor-Corbett for example, the repertoire is trash. Also, the Council thinks that our costumes are not in the best of taste." The story of Les Ballets Jazz and the Canada Council is now so familiar that it has become a lifany.

Subsequent grant applications have been rejected with variations on the same themes. For its part, Council representatives claim that Les Ballets Jazz has been reluctant to open up its school accounts which the Council says is necessary in order to determine the Les Ballets J azz in Benoit Lachambre's Jfreak assez. money being fed from the schools to the company. Salbaing categorically denies this charge. She suspects that there is a all ethnic dancing and we do not Salbaing, in auditions, looks for hidden motive in the refusal. "We have consider any of these as artistic forms." classical dancers and the company has schools that bring in money and good Nonetheless, Salbaing strongly defends four ballet classes a week. "If you don't bo x offices so they think that we can her insistance that only jazz music be have classical lines underlying jazz, you survive. The Council only wants to help used for the repertoire and that jazz have nothing - just wrong placements people with no schools and no public. It dancing, as done by the company, is a and crooked knees", she ex plains. appears it is a crime to be popular. Why valid type of contemporary dance. "All should we be the miracle who must we are doing is dancing to jazz music. "To call us 'commercial" is to call jazz make it on our own?" We are using the pulsating rhythms by 'commercial'." Salbaing, however, does concede what, putting definite steps to them and there in her view, were artistic problems are as many different techniques of "Ballet is the foundation of dance and during the company's early years. dancing used in jazz as there are jazz just as a pianist must practise the scales, " Initially, Eva von Gencsy was the musicians. To call us 'commercial' is to our rep demands ballet training." The company's main choreographer and her call jazz 'commercial'. We are remaining two classes of the six-day works were very repetitive and not transmitting what jazz is through our work week are devoted to jazz and inventive, although her pas de deux were dancing. I'm dedicated to jazz music and modern. Salbaing feels that one jazz very good. It was a craft for her and not I'll do it until I die!" class a week is sufficient since the jazz a creation. For three years, we had 10 repertoire is being danced during the ballets that all looked the same because "The life is very hard on the rehearsals. In modern class, all the basic she brought in other people like herself. dancers." techniques including Graham and Limon No wonder people thought that jazz are taught so that the company is dancing had nothing. I brought in Lynn Salbaing goes on to point out the list prepared to receive any choreography. Taylor-Corbett, Real Lamb, Louis Falco of notable choreographers - Canadian As well , there are master classes given by after that and we became a strong choreographers - whose works are in modern and jazz specialists such as Bill repertory company. Every piece has to the company repertoire, among them Gornell from the Falco company and be good. I've commissioned works that Judith Marcuse, Norbert Vesak, and Arthur Plasshaert from Paris. I've paid for but never used because they Brian Macdonald. All three also This training is also found in the weren't up to calibre. Why doesn't the choreograph for other (funded) successful, bursary-supported Council look at our repertory now?" Canadian companies. professional programs of the fi ve Les The crux of the Canada Council Since the Canada Council also Ballets J azz schools, founded with the funding problem, however, is the very quarrels with the non-modern training of express purpose of creating dancers for term "ballets jazz" which according to a the dancers, which means that the the company. All five have produced Canada Council spokesperson, is not an company is not in the genre of dancers who have entered the company art form. "If we fund jazz dancing, then contemporary dance, it is interesting to or other troupes such as Spindrift and the floodgates would open. We'd have to look into the moulding of a Les Ballets Pointepienu. The bursary program has fund such things as ice dancing, tap and Jazz prototype. also fostered a choreographer. Benoit 16 DANCE IN CANADA

Lachambre's promise was first spotted o.ut-ski and out-tennis most of them!" by Salbaing in a student choreographic There is also the thorny problem of who workshop and he has since gone on to would replace her as artistic director. create two works for the company. "We haven't paid an artistic director for Since 1979, Salbaing has been the ten years. Who would take the job?", she single driving force behind the company. asks with a rueful smile. Eddy Toussaint left after the first year Thus, the lives of Genevieve Salbaing following a disagreement about the non­ and Les Ballets Jazz seem to be profit status of the schools. Co-founder inextricably linked. Although it Eva von Gencsy resigned five years ago will be the dancers on stage who will because of artistic differences. When perform.the three new works by Judith ronfo_r Salbaing looks back over the company's Marcuse, Benoit Lachambre and Daryl mmer(Q)chool first decade, it is not without some Gray, during the Place des Arts birthday l, BRANKSOME HA LL bitterness. "When I founded the celebration their artistic director will be nee company with Eva, I didn't know it JUNE 27 - JULY 29, 1983 would disturb my whole life and I "If I quit now, what did I suffer for wouldn't do it again - ever! Many all these years?" An extensive 5 weeks dance program, for all levels of professionally oriented people feel that I have nothing else to do dance students, 8 years and up, under in my life. What about my family, moving with them in spirit, particularly · the direction of Diana Jablokova-Vorps, interests, hobbies? Those first years were in the last which is set to an originall y Artistic Director - Toronto Regional hell. If the partnership with Eva and commissioned score by Canada's Ballet Company. Eddie had worked out, I would have had foremost jazz musician, Oscar Peterson. DANCE CURRICULUM: more time for myself. As it is, I got The dramatic tale of the Peterson piece Ballet Technique, Pointe, Character, caught up in dance and I found myself and of Salbaing's struggle to get it into Repertory, Partnering and Jazz Ballet. doing all the work." the repertoire for the tenth anniversary is Body Placement Classes for Adults On the other hand, the suggestion that worth an article on its own! But then, RESIDENCE ACCOMMODATIONS perhaps, since she is 61 years old, she that's life at Les Ballets Jazz de FOR BROCHURE WRITE TO: should think about retirement, makes Montreal and Genevieve Salbaing is Carl D. Vorps, General Manager, Salbaing bristle. "If I quit now, what did always prepared for hardships. "I have Toronto Summer School in Dance, I suffer for all these years? Besides, living to believe that a solution will always 15 Armour Blvd., continuously with young people keeps present itself", stoicism, it seems, is her Toronto, Ont., Canada MSM 3B9 (416) 782-2292 • (416) 489-7597 me young. I can out-sail, out-scuba dive, first rule of survival. □

NCE 1 T e 1~J1 Practical Magazine of Dance (oO:v::-w- 0 Two Years $ 29 I Payab le in US Currency I Featuring in Each Issue: Name Spotlight ori I I Successful Teachers Practical Tips I Address I Building Your Library 3 Calendar Sections I I • Seminars & Published bimonthly Workshops Plus two annuals: • Auditions I I • Competitions Costume Preview u~ _J Equipment Update Merchants of A menca DANCE IN CANADA 17 Sing the Body Elastic Stretching Techniques Old and New

By G.H. Van Gyn

As you struggle, at the barre, with your specific muscles. In combination with moving body part to lengthen the muscle developpe in second position, the leg of methods to increase flexibility, the warm­ group. A typical example of the use of the dancer, in front of you, effortlessly up stretch helps to reduce injuries to the this method is a battement initiated from unfolds to wonderous heights, leaving muscle and connective tissue. a lunge position or the bouncing achilles you feeling slightly inadequate. Not to be In specific flexibility training, two or gastrocnemius stretch. discouraged, you work diligeritly on your types of flexibility can be developed. This technique is potentially dangerous stretching every day, motivated by this Controlled extension or active flexibility in that the quick ballistic action can vision of breathtaking extension. The is developed through specific stretching cause a reflex contraction of the same disappointing result is a minimal exercises combined with strength muscle that the exercise is designed to improvement in that developpe. As a development in the area being stretched. lengthen. As a result, there are two serious dancer you realize that dance Uncontrolled or passive flexibility is opposing forces acting on the muscle demands a strong, flexible and expressive developed through stretching alone and group; the force generated by the technique and you have followed the results in movements that are somewhat ballistic exercise attempting to lengthen traditional methods of training. So where weak and subject to control by gravity the muscle and the reflexive contraction is the result? rather than being under the dancer's (called a stretch reflex) of that same control. Obviously it is the former type muscle group. The outcome of these How it happens of flexibility the dancer seeks. opposing forces may be muscle soreness Flexibility is the range of motion around from minute ruptures and tears in the a ny joint. Typically, dancers strive for Traditional Methods Traditionally the dancer has relied on muscle and connective tissue and fl exibility in the hip and ankle joints, the potentially fairly major ruptures in the upper back and the shoulder region. three standard methods of stretching. Slow stretching involves a gradual muscles and connective fibres resulting in Flexibility is joint-specific which means lengthening of a specific muscle group scar tissue formation and reduced that if you have good range of motion in flexibility and function. The stretch the hip joint you may not have similar until the muscle group is fully stretched. The dancer then releases the muscle reflex, which causes a fully stretched flexibi lity in the extension of the ankle. muscle to contract is a protective In fact, flexibility is specific to the group which returns to its resting length. A second technique, termed static mechanism which responds to the length individual joint movement, because stretching, is similar to the slow stretch of the muscle and has a magnitude different muscles, bone structure and method, however, when the muscle proportional to the speed of the connective tissue are involved in the group is fully extended this position is voluntary stretch. In effect, ballistic various movements of the joint. held for approximately six seconds. stretching, when done in repetitive sets, Physiological data tells us that, in Both methods are relatively effective in will tend to shorten the muscle group general, specific flexibility training enhancing passive flexibility and done in rather than lengthen it, as well as should be done no less than three times a slow gradual manner usually do not increasing the probability of muscle fibre a week for a significant change to take result in any injury to the muscle. The and connective tissue injury. place. However, there should be a third method is a fast or ballistic maximum of five flexibility sessions per PNF: A Better Way stretching technique. This method relies week with a day of rest after three A relatively new approach to increasing on the speed and the weight of the consecutive days of flexibility training. flexibility is based on the therapeutic This schedule does not negate light stretching for warm-up every day which brings us to the next principle. Un danseur doit avoir une grande souplesse et I' acquisition et le maintien de cette The stretching we typically see in the souplesse et un aspect crucial de son entrainement. Les methodes traditionnelles warm-up or introductory sections of a d' assouplissement peuvent presenter des risques d' accident et sont parfois technique class has minimal long term inefficaces. la technique consistant a obtenir des elongations par la vitesse et le effects since, in most cases, the muscles poids d'une partie du corps en mouvement est particulierement dangereuse. De are not stretched beyond that point nombreux physiotherapeutes utilisent une autre technique qui donne d' excel/en ts which the dancer has experienced resultats. A !'aide d'un partenaire, le danseur fait des exercices d'assouplissement previously. The muscles are not progressij en se concentrant sur un groupe de muscles, suivis de contractions du "overloaded", which is necessary for a groupe de muscles oppose. Comme taus exercises d' assouplissement, ifs sont training effect. A warm-up stretch is precedes d'un rechauffement pour que !es muscles puissent resister a /'effort. Cest extremely beneficial in its own right as it une technique qui demande de la perseverance car de /egers progres ne sont encourages large muscle group perceptibles qu'a la suite d'un entrainement regulier. relaxation, and increases blood flow to 18 DANCE IN CANADA

expectations. Improvement will be most evident after using this technique over an extended period of time.) Because of the contractions involved at the end of each successive stretch, the dancer will experience an increase of strength as well as an increase in flexibility which serves to reduce the possibility of sustaining injuries. By using the PNF method the dancer's active range of motion, which involves extending the limb to a fully stretched position and actively holding it in that position, would be enhanced. This active flexibility capacity is obviously preferrable to an increased passive range of motion. PNF and you The effectiveness of the PNF technique has been demonstrated mainly in clinical use. Recently, however, it has been the subject of several experimental enquiries, the results of which have shown that: I. The PNF technique resulted in three times the increase in trunk flexion found using the slow and ballistic stretching techniques. Ballistic The PNF Technique is employed in a stretch for hip rotators and the aductor muscle group which are involved in leg turn out. The dancer is actively contracting against the partner and stretching resulted in least gain. follows with a relaxation phase. Note alignment of the back and pelvis. 2. The PNF method resulted in significantly better flexibility and faster rates of improvement in the principle of proprioceptive position so that by the fourth repetition hamstrings as compared to a slow neuromuscular facilitation (PNF) and is it is fully stretched. (This fully stretched stretch assisted by a partner but with widely used by physiotherapists in position will vary according to the no isometric contraction. clinical application. However, it holds amount of extension the dancer has 3. The PNF method resulted in great promise as an effective method for already attained, so be realistic in your significant strength gains in both dancers in that it not only increases flexibility significantly, but also promotes muscular strength and endurance in the muscle group being stretched. The therapeutic technique was altered slightly by Lawrence Holt for the purpose of introducing the method to athletes and dancers. His "3-S Method" generally involves two people with one person stretching and the partner assisting. The method involves: a) placing the muscle to be stretched in a position where it is lengthened but the dancer is comfortable. b) gradually contracting the stretched muscle group isometrically (against the partner or an immovable object- so that there is no movement) until a near maximum effort is reached, c) sustaining this isometric contraction for approximately six seconds, d) relaxing the muscle group, e) then contracting the opposing muscle group in order to place the muscle group being stretched in a more greatly extended position. (This can be aided by slight, gentle pressure from the partner.) This process is repeated three to four The Partner gently aids the dancer to a fuller extension. The dancer actively extends the leg times. On each repetitio n the muscle dowward, rotating fr om the hip joint. This again is followed by an active isometric contraction group is in an increasingly stretched for six seconds. DANCE IN CANADA 19

muscle groups responsible for holding the extended position. This indicates that the method enhances active flexibility. To maximize the benefits of the technique it should be preceeded by a general warm-up involving relaxed and flowing movements of large body parts. This helps to elevate body temperature and readies the dancer's body for stretching. As a technique to condition the dancer it probably would be most effective used outside the class structure on an individual basis, so that time could be spent on emphasizing the dancer's weaker areas. D

The PNF Technique applied to a stretch for the aductor muscle group. Note the position of the partner's hands. Pressure should only be applied at the knee joint or higher because pressure applied below that joint (knee to ankle) will place undue stress on the connective tissue of the knee. The dancer is actively contracting (isometrically) against the partner. Feet are flexed to give a maximum stretch.

Dr. Van Gyn, who teaches in the Department of Physical Education, University of Victoria, has provided a reading list to accompany this article. It may be obtained by sending a stamped. self-qddressed envelope to, "PNF', cl o The Editor, Dance in Canada, 38 Charles Street East, Toronto, Ontario, M4Y JTJ.

The dancer actively contracts the abductors (those opposing the muscle group being stretched) and further extends the legs, aided by slight pressure from the partner. TAX i !!! 20 DANCE IN CANADA

CENTRE FOR THE ARTS SIMON FRASER UNIVERSITY

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Major degree program in DANCE DANCE Emphasis is on SUMMER/ Contemporary dance, performance and composition. FALL '83 For further information on admission to the Fall Semester 1982, contact: Student Services FEATURING: Centre for the Arts Simon Fraser University • Four-year degree programs in Burnaby, B.C. V5A 1S6 performance (BFA) or dance (604) 291-3363 studies (BA) • Daily study in ballet and modern techniques plus specialized courses in history, criticism, dance therapy, teaching, notation, composition, repertory • Graduate Studies (MFA) in dance history and criticism • Special SUMMER workshops (credit and non-credit): musical comedy for dancers, daily the store for technique classes (daytime); dance production (evening); May to August Courses also available in Film, Music, Theatre, and Visual Arts, including SUMMER programs in New York, England, France, and Italy. Workouts on Bellair at For further information, contact: 82 Bloor St. West Toronto, Ontario Room 206Q, Canada M5S 1 L9 Faculty of Fine Arts, (416) 921-9610 York University, Sherway Gardens Oakville Place 4700 Keele Street, 25 The West Mall 240 Leighland Avenu e Downsview, Ontario, Canada Sherway Gardens Oakville, Ontario M3J 1P3 , Etobicoke, Ontario Canada L6H 3H6 Canada M9C 1 B8 (416) 844-4909 Telephone: (416) 667-3237 (416) 626-6412 DANCE IN CANADA 21

In Review

Dances by Christopher House use pre-20th-century, classical religious to military but, in If there's a message here, Toronto Dance Theatre music, (Bach's Concerto No. 2 the choreographer's eye, is it is about the redemptive 9-11 December, 1982. in C major for two pianos), framed humourously rather power of love (the central yet of all his works, The than balefully. They're like section). Yet, it is not any It has been apparent for some Excitable Gift has the most the Wicked Witch of the narrative structure that makes ti me that Christopher House, strikingly contemporary West's hench-monkeys: The Excitable Gift exciting. It who joined the Toronto sensibility - thematic and wicked but idiots. is the way House has mixed Dance Theatre in 1979, is aesthetic. It constitutes a These relationships are aesthetics to unfold some enormously gifted. Apart radical departure from the totally unlike the petulant, meaning, rather than the fr om his impressive prettiness that stamps House's annoying boy-girlish ones of meaning itself. It is a crazier, development as a dancer, other work, a prettiness that Schola Cantorum or . freer dance than his others House has emerged as an can often be beautiful to Boulevard, or those established and House has approached important young chore­ watch but sometimes becomes almost strictly and very the medium with obvious ographer. TDT's three cloying. successfully for their harmony trust in its possibilities for fo unding artistic directors At the most basic level, and beauty in Toss Quintet. substance and surprise as well gave public notice of their House has expanded his use When House glides from them as for delight. fai th in this when they named of movement from the into a soft and sweepingly Of the other pieces from him Resident Choreographer impressionistic danciness he's romantic central adagio duet 1982, Fleet struck me as far in 1981 - the first time in known for to something more section, it comes as a surprise. more original than Boulevard. TDT's 15-year existence that gestural and broadly imagistic This, however, is done so The l.atter, though much such a title had been - expressionistic, in fact. smoothly that things fall into admired by audiences, is bestowed. Bodies form crosses, arms are place: these two circling reminiscent of the private­ Christopher House's used like swords or are sternly bodies with their light, school poppets in Schola sensitivity to music and the folded. Fingers are set to glancing touches are the Cantorum. Although the broad, swooping lyricism of shape a V and cover the eyes antidote to the first section. It dancing is often beautiful and movement that is natural to while people whisper also casts a whole new light occasionally quirky, the his own body were evident in maliciously during the on the music, making it Norman Rockwellish nature his first solo pieces, created opening, allegro section. uplifting where before it was of House's menage a trois while he was still a student in In this, House establishes strident. The final allegro (dancing to a Satie piano York University's dance rather fascistic, cynical section reunites the dancers in score) - like best girlfriends department. Later works, Toss relationships between the an enormously free dance, so vying for the attention of the Quintet and Schola Cantorum, seven dancers. They form two full of energy that even cute boy in class - is a bit created for TDT in 1980, groups, suggestive of prisoners cartwheels seem appropriate, much. made it abundantly clear that and their keepers. set as they are alongside flying Fleet, however, shows he could also choreograph for The imagery ranges from lifts and leaps. House at his abstract best, groups and the passage of where the relationships are in time has given way to dances the choreography, shown that exploit the talents native rather than recited by it. to other dancers' bodies and Patternings change swiftly and temperaments as well. constantly, shifting from a So, it was only fitting that throw to a lift to a leap, a TDT should take account of spin, a drop and a sudden Christopher House's standstill, then moving into a choreographic progress by calm section in which a presenting a program devoted dancer walks among five still to his work - and it was only figures and subtly motivates natural that this should them. Set to the oddly drum­ attract considerable local like amplified pianos of John interest. Cage's Three Dances, Fleet The last (and most recently showed some of the poking created) of the five works and prodding into the recesses presented was, for me, a great of

Royal Winnipeg Ballet conditions audiences more Manitoba Centennial than ever seem to favour Concert Hall tradition over innovation. Winnipeg They want a good story with 26-30 December, 1982. powerful emotions and lots of colourful costumes and sets. It is often said that Giselle is Quite apart from other to a ballerina what Hamlet is considerations, that was a to an actor - a very tough compelling reason for the nut to crack. The ballet itself company to stage Romeo and began life in Paris more than Juliet in its 1981/82 season. 140 years ago, in the later Then as Arnold Spohr (now stages of the Romantic celebrating his 25th season as Movement, and its story of an artistic director) would insist, ill-fated peasant girl, jilted by his company has to grow and a philandering young develop artistically. He nobleman and doomed sometimes tires of hearing thereby to spend a ghostly people say his dancers have afterlife in dank woodland lots of pizazz. He wants them glades, is nowadays pretty to be honoured for their hard to take seriously. artistry as well. And, Spohr The only reasons the work has a rapidly improving has survived are, first, because professional school to its title role offers a meaty consider. By staging larger technical and dramatic ballets requiring huge casts he challenge to ballerinas and, has at his disposal a means of second, because underneath forging links between the all the silly business of professional students and the doomed Wilis in dank glades, company - links that will there lies an enduringly persuade them that the RWB meaningful allergory on the should be their natural home Evelyn Hart as Giselle, comforted at the end of the Act I "Mad Scene" subject of human weakness, upon graduation from the by Catherine Taylor portraying her mother. love and forgiveness. In the school. right hands, Giselle still has Then, there's Evelyn Hart, the Dutch National Ballet). music. There are idiosyncratic, the dramatic power to touch the RWB's brilliant young Yet there was a frenetic edge rather Russian mannerisms in the heart. ballerina who won a gold to her character which kept Hart's use of her long hands Many people were, medal in Varna two summers you worrying about how her but the artistic essence of her nevertheless, surprised when ago and whose artistic growth infatuation would resolve portrayal has such authority about a year ago the Royal is a vital concern of the itself. The so-called Mad and conviction that discussion Winnipeg Ballet announced it RWB's artistic director. Spohr Scene which follows Giselle's of detailed technical points would be producing this two­ freely admits that ballets such discovery of her betrayal can, almost becomes irrelevant. act classic. For most of its as Romeo and Juliet and and often does, come close to The RWB's new staging of long history the world­ Giselle are vehicles designed the brink of burlesque. Giselle was produced (for the travelled 25-dancer company for Hart - and so they Adolph Adam's music, (like 12th time in his career) by Peter has devoted itself to should be. Prokofiev's for the death of Wright, artistic director of the presenting mixed bills of Her debut as Giselle on Tybalt and Mercutio in Sadler's Wells Royal Ballet and short, often popular and December 26 was the kind of Romeo and Juliet) goes on too the same man who gave the accessible works. Giselle, in performance that breeds long and few ballerinas have National Ballet a new Giselle in fact, is the first full-evening legend. It was not perfect, enough in them to make the 1970. His set designer this time ballet from the classic 19th­ Hart was clearly nervous at scene work. The temptation is Peter Farmer (it was century repertoire that the times and lacked some of her for audiences is often to giggle Desmond Heeley for the R WB has produced in its natural verve, but it was so rather than to cry. Hart, National) and the production traditional version. rich in promise and, even at however, absolutely riveted has rather too arty a look. Why would the RWB this early stage, so one's attention and this Wright has made some minor bother with Giselle when intelligently painted with reviewer's were not the only changes to the musical order Canada's two other and much dramatic touches, that one damp cheeks in the house but overall the production has larger classical companies, the · can only ponder in awe what when the curtain fell on Act I. the same dramatic lucidity that National and Les Grands may yet unfold from the mind Hart's Act II, such a marks all his Giselles. Wright is Ballets Canadiens, each have and body of this formidably contrast in mood and style a stickler for logic and his plot a production of their own - gifted artist. from Act I, was a miracle of unfolds plausibly from start to which, in both cases, they will In Act I, Hart was a high­ cool, ethereal dancing finish. be remounting this season? spirited girl, hopelessly enriched throughout by the The RWB's dancers are not Well, the RWB's manage­ besotted with her disguised dancer's seemingly instinctive all yet able to meet the ment has probably noticed suitor (elegantly danced by way of hearing through to the challenge of Giselle. The that in these harsh economic guest artist Henny Jurriens of poetic core of a phrase of female corps, crucial to the DANCE IN CANADA 23

ccess of Act II, lacks polish But all this is what one _ut, considering that a good might expect from a company :-art of it was made up with testing itself in unfamiliar students from the school, it territory and, when the little .::.id respectably enough and problems are put aside, you ·ill certainly get better with can only admire the ;iractice. David Peregrine's company's remarkable Al brecht (he danced with achievement. They made \·eronica Tennant of the Giselle come alive for seven . · ational Ballet in her three sold-out performances in _ est appearances which Winnipeg, danced it as if their ·ncluded the first perform­ lives depended on its success ance) was competent in a and demonstrated once again acklustre way. His dancing is what it means to have a nmusical and, so far, he company that clearly love and seems to have developed no believe in what they're doing. conception of who Albrecht is Peter Wright was pleased too. and what he is like as a "They exceeded my expecta­ uman being. You're never tions", he declared happily sure if he's just a mindless afterwards. ri ch kid or a malevolent predatory romancer. MICHAEL CRABB There were problems throughout making the mime look right and the men in the corps had so many different ways of pretending to be involved in the action that th ey sometimes risked drawing attention away from Judith Marcuse centre-stage. Judith Marcuse and Sacha Toronto, Ottawa and Belinsky: Montreal during January, an Le§ In Concert altogether rewarding evening. Theatre Passe Muraille She and partner Sacha B

There is synergy: the additional power that comes from joining forces. The dancers lineup, circle, or clump together merging their flares into larger bands of light. Their energy peaks and the stage lights come on to illuminate beings coming into human consciousness. One by one awareness grows on their faces and spreads through their bodies. Two join hands and smile. Others pull at their hair in agony. Each dancer expresses a singular personality in a short solo. They maintain these personalities when movin~ with the group, and this moving with others erases any pain and loneliness. All the while, Kurt Haughn's score reminds us that sub-atomic particles, people, and the larger scheme of the cosmos, dance in their personal yet interdependent and inter­ changeable orbits. Dance For Changing Parts builds to a Jacques Gorrissen as Sancho Panza and Charles Kirby as Don Quixote in Nicolas Beriozoffs production of the Russian classic for the National Ballet of Canada. choir. The audience rose to its feet not just because National Ballet of Canada similarities, the National's Madrid, Basilio and Kitri, and Robinson's dance was O'Keefe Centre program note is coy about the rescues Kitri, whom he beautiful and moving, but Toronto Borkowski connection, saying idealizes as his dream, because the evening refreshed 10-28 November, 1982. only that its staging "is Dulcinea, from an unwanted the spirit by saying that being based" on London Festival's. marriage to Gamache. Of human is enjoyable, and when The National Ballet's Don Whatever its history, Don course, all ends happily; Kitri it's not, there is a larger order Quixote, produced and Quixote has the sets and marries Basilio amidst general to give it meaning. choreographed by Nicholas costumes Emanuele Luzzati rejoicing, after which the Don Beriozoff, after Alexander designed for Festival Ballet. and his faithful servant depart ALICE FROST Gorsky (and in his turn, after The production is hideous to in search of adventure. Petipa), was first mounted by look at - garish best If that remark suggests a Witold Borkowski for the describes the designs - but, hero riding into the sunset, London Festival Ballet in nevertheless, it was a popular the implication is intended, 1970. Even though reviews success. for however foolish the old and photographs of that Readers of Dance in Canada man may be, audiences should production reveal remarkable will be familiar with the Don take him seriously. Alas, this Quixote pas de deux, production does not. The Don occasionally trotted out by the is confined to a wretched little National (and a host of other study that does nothing to LONDON companies) at gala suggest his wide-ranging performances. Though the scholarship, and he is forced Academy of Dance and Theatre Arts full-length ballet has never to ride what can only be been performed in Toronto, (I described as a hobby-horse, Mem ber believe the Bolshoi once the sight of which sends the Royal Academy danced it in Montreal), audience into gales of of Dancing. Cervantes' story of Don laughter. If an audience Imperial Society. Canad ia n Da nce Quixote and Sancho Panza is regards the Don as a fool , Teachers Res id ential familiar enough: a slightly how can it expect to be F.B. A.T. D. Summer School mad Iberian knight journeys sympathetic towards his at Alma College through Spain in search of his quest? Imagine Siegfried or July ideal love. In the current Florirnond so regarded, and TR AINING TO PROFESSI ONAL STANDA RD BY HIGH LY variation, the Don becomes you see my point - since QL'ALI FIED ST AFF mixed up in the courtship of their quest is quite the same. 432 Waterloo Street London. Ont. :\6B 2P2 (519) 439-8961 two young lovers from Whatever Charles Kirby or 26 DANCE IN CANADA

part, she lacks the speed and company: they must be high jump to make Kitri Barcelonans, gypsies, dryads, really hers. Augustyn, on the wedding guests and matadors. other hand, is appropriately And there were some lovely boyish and ardent, playing his performances: a superbly comic bits with a deftness that observed fop from Hazaros brought to mind Colas in La Surmeyan (Gamache); an Fi/le Mal Gardee. Peter elegant Espada from Peter Schaufuss, as one might Ottmann; a leering Gypsy Boy expect, danced brilliantly, but from David Nixon; an seemed to be in an altogether alluring Mercedes from different ballet. His romantic Gizella Witkowsky ... one could melancholy suggested La go on. Obviously the lessons Sy/phide, and none of about characterization that Veronica Tennant's wit or the company learned from drive drew him from 19th­ Napoli have been absorbed century Scotland to medieval and reflected upon, for the Spain. National can present a whole , The keenest dancing range of characters. In the pleasure of the principal casts first performances, the I saw were Kevin Pugh and company was not wholly Yoko !chino. Trained at comfortable with Gorky's Balanchine's school and a choreographic style. Its former member of the amplitude eluded them, so Joffrey, Stuttgart and that some of the ensemble American Ballet Theatre, dances - and they are lchino has the litheness and numerous - looked short of energy one assumes to be breath, though this deficiency characteristic of all American may in part arise from George dancers. She took to the Crum's conducting. He took O'Keefe Centre's stage as if Minkus's music very fast at she had been dancing on it for the first performance, and the years, and gave a definitive sound, one wit remarked, was Frank Augustyn as Basilio in Don Quixote. reading of Kitri: quick, witty, like a 1950s monaural vivacious, and deliciously recording - the result of Donald Dawson attempted to final act - an inappropriate danced. My only reservation trying to compensate for the make of the character became, ballroom - was such a is about a slight blandness in O'Keefe's notoriously pathetic in the circumstances, pulsating shade of purple as her classical dancing, an acoustics by amplifying the grotesque, though each had a to seriously disturb one's insensitivity to phrasing, but orchestra, tucked away as it is fine and venal Sancho Panza vision. Moreover, the we will have to see what other in a long, semi-cavernous pit. in Jacques Gorrissen or Craig refurbished costumes are performances reveal. Certainly During the second week, Randolph. mostly orange; the combina­ Ichino is a valuable addition two pas de deux entered the "In the circumstances" tion of the two colours is to the company. And Kevin repertoire, Three Easy Pieces must also account for nightmarish. Pugh danced with the zest we and Portrait of Love and Luzzati's sets and costumes, Against such a disturbing have come to expect, while Death. The first has though the latter, one is background, the dancers had investing Basilio with a choreography by Luk de informed, were substantially a difficult time of it. Kitri and likeable character. At the Layress, music (unidentified) remade. Still, the Basilio, for example, were moment his reading is by Astor Piazolla, and should backgrounds, which attempt almost unnoticeable on their tentative, but it should, with be seen for the sleek and witty to suggest the colour and first appearance, so it is not additional performances, performance of David Nixon. vibrancy of Spain in their surprising that Karen Kain become more open and The second with choreo­ geometry and their colouring and Frank Augustyn looked spontaneous. graphy by Vicente Nebrada, confuse the eye and wipe out tentative. And while Kain has But Don Quixote also makes to music (also unidentified) by the dancing. The drop for the the necessary glamour for the demands on the whole Enrique Granados, should be

2205, 700 - 9th Street S.W., Calgary, Alberta, Canada T2P 2B5 \~ SUN·ERGOS '4f1" a company ol lhealre and dance ~ j Robert Greenwood and Dana Luebke (403) 264-4621 DANCE IN CANADA 27 seen for the hard work and T.I.D.E. commitment of the principals, Theatre Passe Muraille Veronica Tennant and Toronto Raymond Smith. Neither 1-5 December, 1982. ballet, however, should be seen again. This particular Theatre Passe Muraille, program was remarkable for a through the good offices of its light-hearted performance of associate aristic director (and Kettantanz, especially from a longtime friend of new the younger members of the dance) Jim Plaxton, opened company. Perhaps it should its doors last fall to a be left entirely to them for the complete mini-series of dance only senior member of the performances. Among these cast, Vanessa Harwood, was an impressive but looked as though she was ultimately unsatisfying performing in front of a appearance by T.I.D.E. mirror! (Toronto Independent Dance In its final week the Enterprise). company revived The Passe Muraille's upper Sleeping Beauty. The theatre incorporates several Nureyev /Georgiadis awkward pillars but the raked production for the National is seating establishes an intimate now 10 years old, and there is performing environment. probably not much more to T.I.D.E. offered Set in say about it. Beauty is the apex Motion - an hour-long of classical dance that the mixed-media presentation T.I.D.E. members Alan Risdill, Paula Ravitz and Sallie Lyons in Set in Motion. National for all its efforts has incorporating dance, drama, never reached. After a decade music, voice and decors. All The dancers enter a dimly the performers start the of brave performances, a four T.I.D.E. members, Paula lit stage looking a bit like Zen process of remembering, of wholly satisfactory cast of Ravitz, Alan Risdill, Denise monks chanting their Koans. releasing stories whose drama fairies has yet to appear, and Fujiwara and Sallie Lyons, They carry lanterns which are is hidden in the body's most reviewers seldom now write contributed to the chore­ swung about, creating a visceral emotions. about the corps with the ography, much of it improvis­ fluttering effect. Suddenly the The intention is admirable enthusiasm that they were ational in appearance and, in lights dim further, the lanterns but the dancers' means do not once wont to. Beauty badly parts, clearly founded in go out and a voice wails: always seem equal to the task needs Nureyev to come and Contact Improvisational "Once upon a time, there they have set themselves. They curse and swear; even more, techniques. These lend an were storytellers who spoke, seem to work at cross­ the corps needs new and almost sporty quality to the not in words but in motion. purposes. While attempting to tighter standards. Still, there movement. They joked and laughed with perform the specific intentions was a glow about the first Set in Motion begins with their hands. Their stories of the piece, intentions rooted Kain/Augustyn performance recitation. Musician Andrew sprang from their standing up, more in drama than dance, that warmed up the dismal Smith delivered what sounded moving forward, their leaping they lose contact with their O'Keefe, and enormous at first like lines from an old­ and turning and flying away. emotions and with the individual promise in Yoko fashioned fairytale. "Once Jump stories are different audience. !chino's last-minute debut as upon a time, in the beginning, from hop stories, but the best There's a schizophrenic Aurora. far, far away and a long time ones are heart stories which edge to the whole before the wheel and after the are neither in English nor in performance. The dancers are LAWRENCE HASKETT telephone ...". French. These stories speak technically accomplished but The words hint at man's the language of the body. the movement itself seems historical roots but quickly Most have been forgotten, but redundant and inadequate. transpose time from its we come here to remember". The lights come up to conventional linear conception The theoretical reveal a large, bright portable to something more cosmic underpinning of the dance is banner-like set designed by and mysterious. thus clearly established and Scott Parkinson. It depicts a

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house in woodland and the Denise Clark¥ and Anne Flynn dancers stand in front of it, Loose Moose Theatre Simplex apparently puzzled to know Calgary where they are. There are 24-27 November, 1982. further set changes. They bring on the sun, clouds, even It began with a long, breathy a rainbow-like canopy - all tone; from the depths of of which are finally mounted someone's belly, from on standards. somewhere in the darkness. Andrew Smith's stunningly Light up on two dancers, evocative vocal and Denise bending over Anne, percussion accompaniment asking, "Have you finished made more sense of these set breathing yet? We've got a changes than the actual concert to do". Both ladies content of the dance. This were wearing red shoes; it was becomes increasingly ill­ obvious that they had some defined and the potential for dancing to do. But first they exploring the historical and talked - a lively dialogue temporal implications of about styles: ballet, jazz, story-telling is lost. modern, avant garde and tap. Contact Improvisation is They were poking fun at indeed fun for those doing it dance and themselves. It was and can even be fun to watch witty and funny, doubly so if but in this case it makes the you realized their back­ dancers more concerned with grounds. Denise Clarke, who the process of their own has danced ballet and jazz physical interaction than with since she was a child, said, conveying any sense to the "Ballet is purity". Anne audience. Flynn, who waltzed into There are isolated gems modern and improvisation amidst the general confusion. much later in life, countered Alan Risdill and Sallie Lyons, with, " Pretentious" . Denise for example, begin their went on, "Control". Anne, respective representations of "No freedom" . And so it an ancient rock and a piece of went until Frank Sinatra shiny wrapping paper with broke in with Young at Heart evocative movement and in and led them down the gilded each case develop it into witty staircase into the wonderful abstractions. world of dance. The dance Set in Motion is so rich in was called, If They Can 't Take promise and Scott Parkinson's a Joke. Apparently everyone Denise C larke and Anne F lynn designs so delightful that one could. hopes T.I.D.E. will give the The performance, " It Takes filled the house and brought it There were some beautiful piece a thorough reworking, 1,2", was the second this year down. " It Takes 1,2" came moments, but I did not feel perhaps with the help of an for Clarke and Flynn. Both out of the enthusiasm the impact that I am sure outside directorial hand. are teachers at the University generated by that show. A McKinnon intended. Perhaps of Calgary; they teamed up very different production in a some of the shape was l_ost in JUDITH POPIEL last spring to create a show at smaller space with Jess the smallness of the stage, the the University Theatre that technical support and a much proximity to it, and the odd shorter preparation time, "It sight-lines. The space was WINNIPEG'S Takes 1,2" came off with less designed for improvisational CONTEMPORARY DANCERS polish but lots of spunk and comedy and it was obvious Canada's oldest professional integrity. that the performers had not The performance consisted thoroughly adjusted to it. dance repertoire company of five pieces, with When the audience is that wishes to appoint an choreography by the dancers close, you can't rely only on and two Calgary associates, shape and form: there must be ARTISTIC DIRECTOR Larry McKinnon and Vicki an inner intensity, dancer to succeed Rachel Browne Adams Willis . McKinnon's must also be actor. Send resume to: Aria, was contempor­ Ladies Placed in Waiting Ms. M. Shojania ary/classical, a solo Unattached also suffered from Chair, Search Committee for Denise, drawing upon her the lack of space, but there 900 Wellington Crescent well-honed classicism. I can was still lots to write home Winnipeg, Manitoba still picture her arms sweeping about. Willis has more Canada R3M OA7 great curves through space. rhythm in her than most DANCE IN CANADA 29

eople see in a lifetime and absurdity". "It Takes 1,2" is the sort of Danceworks 29 -he proves it time and again The show ended with a hot performance where you can Desrosiers Dance Theatre ·,,it h show-stopping jazz little number, 98% hu. N. Y. tell that people enjoyed Company choreography. Some fantastic N. Y., (which translates to "It working together, and that Toronto -r ruttin' and shufflin' and was very hot and muggy when more will come of the December, 1982 luffin' and,somewhere in the Denise was in New York this interaction than just a room mi dst of the coquetry, summer"). Using the Rip full of people clapping. Memory is a wonderful thing; uncertainty, healthy sleaze Chords as none too ambient Calgary is rich in resource it allows us to recall, and female bravado came two New Yorkers, she filled the people, the artistic interchange sometimes in brilliant detail, moments of magic where the stage with schleppers, but they is strong and always seems to the objects and events of our essence and spirit poured out eventually wandered over to benefit from new connections. past, to embellish them or to of Anne and Denise's faces their instruments, leaving Some brilliant photography leave them stark and and there was a reason for Anne and Denise bopping by Heather Elton, and Peter unadorned. So, here are this them being so close to their around (some people love the Moller's (Egg Press) poster reviewer's memories of two audience. heat). The instruments designs helped brighten up the programs presented in Hempe/'s Dilemma was a doodled their way into a city prior to the performance. Toronto last December. very whole package of rousing rendition of Hot Elton's work was displayed in Danceworks 29 was, on the assorted treasures. Excited Town: Summer in the City. the theatre foyer throughout whole, a rather bleak affair, about a concept gleaned i.n a The transition was exciting - the four-day run. Peter Moller with only a few pieces Philosophy of Science course from bop to pow. The room is the drummer in the Rip sufficiently cogent to she is currently taking, Anne came alive with the music and Chords. It all adds up to recommend them. Sunday hauled her lecturer onto the Adele Leger's gutsy voice. The more than just a performance. Afternoon, subtitled "a dance stage to talk, backed her up dancing was loose-limbed and "It Takes 1,2" is an event, a about memory", sustained with her favourite New Wave breezy, in and out of unison. dance that uses people and itself by a coiling, uncoiling, musicians, the Rip Chords, Denise's intention was to use ideas, not merely time and recoiling motif that etched the and danced a quiet careful the Rip Chords for "more space. And that is a large part movement in the mind. dance of leans, balances, falls than just accompaniment". of what makes an opening Choreographer William and quizzical facial and body And so it was, schlepping or night sell out on a cold Douglas created a dreamlike expressions. It was all sum­ playing, they held my Wednesday in the middle of context for dancers Susan med up very neatly when the attention as their bodies November. McKenzie and Ken Gould to lecturer announced that, "Any exuded a playful spontaneity, romance their way into the attempt to eliminate our a counterpoint to Ann and MARY JO FULMER deepest recesses of memory, human perspective from the Denise, riffing like nobody's their arms and torsos slowly world must lead to business, centre stage. billowing and waving around

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Curriculum ballet, Cecchetti Syllabus , pointe, repertoire, jazz, moderne , character and Spanish.

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Write or phone for information : Ouinte P.O. Box 534 Dance Belleville, Ontario K8N 5B2 Centre (613) 962-9938 m Scholarships available for male students 30 DANCE IN CANADA one another. It was the ebb and flow of an afternoon spent with a Jover, a tangled other-directed confusion of positions, memorable not so much by their singularity as by their recurrence. That recurrence also resulted in the middle of the dance disappearing into the haze, its momentum losing ground to its repetition, the ganzfeld taking over. But the images do remain, so the dance had its desired effect. Lawrence Adams' Behaviourism: An Interim Report had enough of its own eclectic images to earn a place in my cerebrum. In spite of its title, the subject (Vicki Fagan) and the object (Alan Risdill) had virtually nothing Robert Desrosiers in Bad Weather. connecting them. Risdill spent dance, playing with parts of behaviourism personified. For the Atlantic. People are lifted, his time doing the Foxtrot or her body in a shaft of light, or all its disjointedness, its the cow gets lifted, then the Charleston behind a wall studiously stamping those unexplained logic, milked, there's a rain dance, of backlit newspapers while menacing heels at the back of Behaviourism ... generated an African section, incredible Fagan for her part looked the stage for a good three or enough energy to keep this gymnastics, incantations, a coldly malevolent, stalking four minutes, after which watcher amused, or bemused, spellbinding solo by Claudia about the stage in her heels, some of the audience clapped throughout its length. Moore, in short a visual feast. hammering an amplified brick with relief. Ah yes, Memory is perhaps most As the storm approaches and to mark off the sections of the effective when it's married to bad weather becomes the magic. A behaviourist would order of the day (or night), we have had a field day trying to see Desrosiers in a rowboat cape:.t!io objectify the responses of the on the floodwaters battling on stage off stage audience to the latest works the waves, and believably at by Robert Desrosiers, a that. The vignettes vibrate, memorable magician if ever and Bad Weather becomes a there was one. Desrosiers is a shining example of theatrical product of another time, or so magic, a memorable dance. it seems in this performance The Fool's Table continues incarnation. Today he appears the evening in the same as the medieval man, part general mood, but if suffers clown, part jester, part saint, by comparison. The same part demon, while all around magic, seen again or too soon, whirl the images of half­ loses its impact. The elements intuited worlds, the souls of are present for this dance to the departed, the sounds of become another speciai piece, the departed. Consider this but at this writing The Fool's opening tableau: a jungle-like Table is a little flabby, with backdrop, two body-painted amorphous solo work that black creatures undulating on needs shape and compression. either side of the stage, an Special mention should be ephemeral woman in a sphere made of the music, created of hoops upstage, and in the and performed by Gordon middle a Chaplinesque figure Phillips and Sarah Dalton­ playing an accordion turning Phillips, which in its variety and turning on the spot with, and subtlety was more than a of all things, a huge black and match for the dance that it white cow flying behind him, accompanied. And that is attached to his waist. This is what I remember, or choose the beginning of Bad Weather, to, of these strangely a 20-minute collection of diametric evenings. myth, mystery and magic unlike anything on this side of PETER RYAN DANCE IN CANADA 31

ftSTIVfll PAULAROSS DANCE COMPANY out~tc t1t Dflnst Central ·canadian 1963 Tour October 1983

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For details about this and other undergraduate courses and Summer Schools, write to: Administrator, Laban Centre of Movement and Dance, at University of London Goldsmiths' College, New Cross, London SE14 6NW ENGLAND, Tel: 01-691 5750. 32 DANCE IN CANADA

Cullberg Ballet Ryerson Theatre Toronto 24-27 November, 1982.

Anyone who saw the Cullberg Ballet for the first time during the 15-year-old Swedish company's North American debut tour last fall will be unlikely to forget the experience. No amount of preparatory reading could fully equip one for the sheer shock of the Cullberg's blockbuster dancing or the controversial, sometimes even tendentious nature of the work it performs. Birgit Cullberg founded the The Cullberg Ballet in Mats Ek's The House of Bernarda. company in 1967 after an a lengthy period with Kurt during the Second World in his hands they look too earlier career outside Sweden Jooss, creator of The Green War. much like a borrowed that had established her Table. Much of the 75-year­ Today, the driving force language which the reputation as an innovative old choreographer's artistic behind the Cullberg Ballet is choreographer only partly and provocative sensibility can be related both Birgit's younger son, Mats Ek. understands. choreographer. Miss Julie, her in style and subject matter to He, however, has been bred in What gave most of the 1950 adaptation of the Jooss's own brand of socially the family tradition and his choreography its undeniable Strindberg play about the and politically engaged choreography maintains the power was the extraordinary consequences of repressed choreography. It is no faith that dance can comment conviction and full-out energy sexuality, caused a sensation surprise to read that Cullberg on the ills of human existence. of the dancers. The Cullberg when it was acquired by made satirical dances about The means by which he Ballet is a company of American Ballet Theatre eight Hitler and the Nazis just when achieves this are far cruder soloists. Every member years later. her homeland was trying to than those employed by his projects a strong personality Cullberg's training included maintain an uneasy neutrality mother and, when the initial and dances as if there's no shock-waves from his tomorrow. choreographic grenades have Mats Ek's choreography dissipated a bit, you are left dominated the repertory for wondering just how much the Cullberg Ballet's Toronto choreographic craft he really engagement. (Ottawa, with its possesses. lavish National Arts Centre, As befits its name, the was able to accommodate troupe of which Mats Ek is Miss Julie.) Cull berg was now co-artistic director feeds represented in Toronto by a at the technical wellspring of 16--minute pas de deux, Adam classical ballet. Company and Eve, choreographed more class, according to Cullberg, is than 20 years ago. This always a ballet class, yet the quaintly charming dance work seen on stage clearly depicts, (in Cullberg's makes extensive use of rereading of Genesis)-, Adam's movement idioms drawn from escape from the harmful the major streams of North strictures of religious American modern dance - superstition. With a shake of endless Graham contractions, the fist towards the heavens spirals .and falls, with a he asserts his right to enjoy generous helping of Limon­ Eve without feelings of guilt. inspired lyricism. But then, Even for Cullberg, Adam while pointe work has largely and Eve is pretty tame stuff been banished from the and looked positively bland Cullberg stage, there are lots placed beside the of balletic jumps, arabesque supercharged work of son Ek. turns and seemingly His House of Bernarda ( 1978) decorative enchainement. combined powerful mimic When Ek wants his gesture with almost viscerally choreography to speak raw dancing to create the strongly he tends to rely on choreographer's own gloss on the modern dance idioms but the famous Garcia Lorca DANCE IN CANADA 33

dual victim of class prejudice naked. Hilarion enters to give and social alienation. Whether him a rough peasant cape. He Ek intended to lay so many is symbolically purified by false trails throughout his shedding his upper-class duds. Giselle is a matter for debate. Ek seems self-consciously Perhaps it was a simple case out to shock his audience in of confused intentions Giselle. It's as if he wants outmatched by a poverty of people to get up and leave. means. Nobody did of course. The Adam's heavily descriptive actual dancing is so original score, (on tape), had sensationally good, despite the been reordered in such a way descriptive poverty of the that the leit-motifs became actual steps, that you are irrelevant - unless one was seduced into believing it all supposed to deduce some adds up to something big. But complicated pattern of role it doesn't. Ek's Giselle is a transposition. Ek's designer trashing of a classic rather (Marie-Louise De Geer than a meaningful reworking. Bergenstrahle) provided two It steam-rollers its audience wonderful painted back-drops into a false belief that rich in sexual imagery and something truly significant is costumed Albrecht and his being said. What you're left perhaps significantly over­ with is isolated memories - Ana Laguna in Act II of Mats Ek's version of Giselle. doting squire in tails. Neither, of Ana Laguna giving play. Sexual undercurrents in modern, mostly popular, however, wore a bow-tie everything as Giselle, of the Lorca surfaced grotesquely in music. presumably because they and wonderful long-limbed Yvan Ek's interpretation. Bernarda, Ek's political commentary their cocktail-dressed female Auzely as Hilarion. danced by a man, cavorts in Soweto is naive to the point colleagues, wanted to go The Cullberg Ballet is not sacrilegiously with a Christ­ of being laughable. It seems casual among the peasants. easily forgotten because it is doll while her daughters he likes to grab at issues and To an extent, it seems that so different from anything to seethe with repressed anger reduce them to simple Ek wants to turn Giselle into be seen on this side of the and desire. confrontations of right and an allegory about class Atlantic. It works at one In Soweto Ek sets out to wrong - with himself always prejudice. Albrecht philanders extreme dramatic edge of the pass judgment on the on the right, ( that is, with the already nutty Giselle art form. It is exciting in a repression of blacks in South politically left) side. If only not because he is a bad crude way. It keeps you Africa. It's ham-fisted the world's problems could be person but because he is awake. It makes you angry judgment at best which often so easily solved. upper-class. As an epilogue, and it makes you laugh. comes close to burlesque. A Then there was Ek's Giselle, after he has been through the That's about it - and it's not Victorian doll, complete with reworked into a 1940 setting experience of visiting Giselle quite enough. white lace and parasol, sits with an oversexed, barefoot in the Act II lunatic asylum, downstage right while the peasant girl standing as the Albrecht is stripped stark MICHAEL CRABB dancers (mercifully not black­ faced) enact a series of angst­ ridden sequences which presumably connote their resentment of white oppression. Birgit Cullberg herself impersonates some great,wise Mother figure who finally rouses the others to pull down the back and side curtains in a symbolic act of rebellion. (The company did this so successfully in Ottawa that they caused several thousand dollars-worth of damage!) The doll turns its head and motors its way, (by remote control, of course), to centre stage, where it remains oblivious of the threatening circle of dancers closing around it, all to an incongruous collage of 34 DANCE IN CANADA

Book Beat

The Concise Oxford Dictionary of Ballet, by Horst Koegler; second edition. (Oxford University Press, 1982. $48. 75, paper: $14.95.) Biographical Dictionary of Dance, by Barbara Naomi Cohen-Stratyner. (Schirmer, 1982. US$75.00.) Horst Koegler's second edition contains extensive revision of materials found in the original 1977 issue. He's updated career listings, supplied dates of death for biographees who have left us through mid-1982, and he's created new entries for contemporary dancers and choreographers who have recently come into their own and for significant new dance works composed in the interim. Canadian users will appreciate finding some documentation for James Kudelka, Constantin Patsalas, and Danny Grossman, as well as the principal dancers of the National Ballet of Canada. Presumably to make room for more timely stuff, Koegler has dropped a significant number of entries for performers and works no longer au courant and their omission reduces the effect­ iveness of the book as a tool Linda Gibbs and Micha Bergese of the London Contemporary Dance Theatre in a photograph from 1975 by for historical reference. The Anthony Crickmay whose book Dancers was published recently by Collins. axe fell mainly on performers who flourished in mid-century prompt most buyers to resort with carelessness extending to copies of their entries to and are no longer in the news; to the paperback version. the names of several several persons represented in and while it's nice to see the The Cohen-Stratyner effort biographees, at least one of the dictionary and got teenaged Darci Kistler (listed is sheer disaster on all counts, which is put out of proper responses expressing horror erroneously, incidentally, as demonstrating an alarming alphabetical sequence. As for over having their professional Darey in the new issue) irresponsibility on the part of veracity, the dictionary lives so falsely represented. warrant nine lines of data, both editor and publisher. abounds in incorrect infor­ One declared that her users will have to refer to the Schirmer advised Cohen to mation and dates, with many biographic account had "at 1977 edition to scan the compose her "more than dancers accounted for as least a dozen major errors"! careers of Richard Adama, 2,900" biographical entries members of companies they Canadian data are particu­ Henry Danton, Nina Novak, rather than adopt a data­ never joined and in roles they larly unsatisfactory since most and Gertrude Tyven - to process format, and the didn't perform. One surely careers were not traced mention a few names that results contain some of the wonders just what those beyond the mid- I 970s. Many have been denied perpetuity. oddest grammar and muti­ "three independent sources" of the longer essays, Otherwise, the new volume lated prose you'll ever might be which, so she claims, particularly those dealing with will be of general service for encounter in print. Scores of served the compiler in the such major figures as Isadora ready-reference. The fact that typographical errors and verification of her data: Duncan, Diaghilev and the price fo r the bound issue misspellings demolish the certainly Koegler was not Nijinsky, contain glaring has tripled in five years might credibility of her research, among them! I sent Xerox inaccuracies and some bold DANCE IN CANADA 35 and audacious prononcements adolescents, turns to the In his second autobiographi­ ballet collaborators, Jean which are bound to raise the dance world for this effort, cal offering, Buckle tells how Cocteau and Lincoln Kirstein. dander of specialists in these covering issues which have at age 16 he became aware of These shed considerable light subjects. In respect to her own been treated much better in the world of ballet when he on the genesis and evolution fi eld of research, Cohen has any number of current guides chanced in 1933 on a copy of of many of the great ballets. made an effort to cover the written by more qualified Romola Nijinsky's book Stravinsky exchanged letters careers of many performers in authors. Throughout her about her husband. Within a with Cocteau for 50 years. American theatrical dance and survey of American theatrical few years he was immersed in The correspondence with the motion pictures who have dance she frequently patron­ the fallout of the Diaghilev Kirstein documents a 20-year not been treated in existing izes her young readers with era, witnessing the London association with George dictionaries, but her general simplistic observations. One seasons of Colonel de Basil's Balanchine which resulted in disdain for accuracy in the about Isadora Duncan Ballets Russes and their rivals, the production of such ballets other listings hardly encour­ particularly enchanted me: getting to know the survivors as Orpheus and Agon. The ages one to rely on any of the "She drank too much and of a glorious age, observing Canadian price set on this facts presented. Meanwhile, picked up too many young the emergence of British worthy research tool seems Schirmer might save face by men". Other pronouncements ballet, and hoping to become even more inexplicable when recalling the dictionary and indicate that Switzer is a bit himself a second generation an identical production can be handing it over to a lazy in checking facts. We're Diaghilev. Denied the had in Knopfs American responsible editorial team, told that Duncan's junket of appropriate resources, he edition at US$27. 95. European engagements turned to engrossing occupa­ Dancers, by Anthony Marina Grut's The History included appearances in tions - ballet criticism, Crickmay. (Collins, 1982. of Ballet in South Africa Beirut, that Nijinsky's Rite of curatorship, editing Ballet $()5.00.) (Human & Rousseau, 1982. Spring (which had but seven magazine for several years, Ten Dancers: On Stage, $47.50) is a handsome performances, all in 19 I 3) "is and organizing the magnifi­ Backstage, At Home and On volume, lavishly illustrated, rarely performed today", and cent Diaghilev exhibit and the the Road. Photographs by which documents the that American Ballet Theatre Sotheby displays and Pierre Petitjean; text by Holly development of theatrical "does not now and never had catalogues for the auctions of Brubach. (Gage, 1982. $44.95.) · dance institutions in a country a resident choreographer", an Ballet Russe decors. Ultimately Two elegant volumes of dance we know little about. The observation bound to offend he would research and photography offer contrasting author, who was a celebrated Antony Tudor and several produce what many consider viewpoints. Crickmay sees his exponent of Spanish dancing, others who performed that the definitive biographies of subjects as deities, sacred and performing in South Africa very function. Nijinsky and Diaghilev. profane. Mikhail Baryshnikov under her maiden name of Mr d'amboise, who is an Buckle offers vivid portraits and Peter Schaufuss soar Marina Keet, surveys the adolescent, joins the dancers of his friends: the Russian through milky infinities, Lynn influences of early and more of New York City Ballet who Tamara Karsavina and Lydia Seymour glitters in her own recent visitors and accounts are hellbent on becoming Lopoukhova, the English aura, and Martha Graham for the emergence of several authors this year. He's the Lydia Sokolova braces for an attack of furies. major dance companies. youngest of the dancing (whose memoirs he edited), Ensemble photos seem Readers in Europe and diarists and has recorded the wily Romola Nijinsky and considerably larger than life; America will recognize the impressions of his first year as the sad Boris Kochno. His · included is the famous I 971 names of many dancers who a professional employee of travels took him to America shot of the National Ballet of trained in South African that company. In terms of and to the survivors of the Canada in Roland Petit's schools (John Cranko, Nadia ballet's glorious heritage and Diaghilev age residing there, Kraanerg, a legion in white Nerina, and Yvonne Mounsey, lore, he remains an innocent, and his assessment of those unisex surrounded by in particular) and will be reserving his awe for the who thus assisted his research Vasarely's overwhelming surprised to note the accomplishments of his peers. is both eloquent and geometric concepts. Petitjean's impressive list of artists and Despite Lincoln Kirstein's whimsical. This is a brilliant, 10 superstars are presented in troupes that have visited the vivid endorsement in a preface gossipy account of the gradual the stylish, urbane settings we apartheid-bound nation in and the encouragement and · demise of an art movement, expect them to inhabit and in recent times. editorial assistance of told with perception and great situations which testify to the Jacqueline Onassis, d'Am­ wit. glamour of their peripatetic boise really doesn't have all Choreography by George occupations. Both photo­ IN BRIEF that much to say, and the Balanchine: a Catalogue of graphic visions are valid, and Igor Stravinsky's Selected year he picked to chronicle is Works, is scheduled for the results of each are quite Correspondence: Volume 1 likely to strike most readers as release in March, 1983, by delicious. (Faber and Faber, 1982, an inconsequential one. In a Eakins Press of New York. issued in Canada by Oxford decade or two he may have Containing full data for every Dancers! Horizons in American University Press at $81.25) something more interesting to ballet and dance for all Dance, by Ellen Switzer. contains communications share; at the moment he theatrical media created by (Atheneum, 1982. US$14.95.) between the composer and his comes across as a young Balanchine, the book (printed Leap Year: a Year in the Life various musical colleagues apprentice testing his oats in in Italy, bound in Belgian of a Dancer, by Christopher (Nadia Boulanger, Maurice the family business. linen and boxed) will be d'Amboise. (Doubleday, 1982. Delage, Ernest Ansermet et issued in a first edition of $23.50.) In the Wake of Diaghilev, by al), offering special interest to 2,000 copies at US$75.00. Ellen Switzer, who writes Richard Buckle. (Collins, the ballet historian for those books on various subjects for 1982. $27.50.) extensive exchanges with his LELAND WINDREICH 36 DANCE IN CANADA

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This unique national Program 14th Annual provides training in fundamen­ Solid Construction, Oak Hand Rail tal business practices related to artistic organizations. It This is the only truly Port· Summer School able Barre on the market. features case studies, guest Requires no legs. Clamps of Dance lecturers and leading business toanything,anywhere:clo· Lois Smith set or bedroom doors, posts Artistic Director figures in the Performing Arts or archways. as well as the organization and Nothing to put together witb special guest faculty when you want to use it. l< e11 netb Lipit~. Joysa1111 e Sidimus management of "In Perform­ You clamp it to your height. Hrenda J\lattbias, Hill yann Balay ance", a series of Events held at Can be stored in a closet Sbel!ey 7iebel, Car;11a Leyds · Confederation College. or carried like a suit case for travel. Great for dorm July 4-August 12, 1983 July 4-29, 1983 This two-year Program room ,apt.,ormotel.Travels Sclfior ,111d /:' lcmc11t,11y ,111d where you do. Comes completely assem­ Adult /J h•isious ) 1111ior 1Jii•isio11I combines studies (two fall bled. We also carry a complete line of wall mounted For further in formation semesters at the College) contact the School of Da nce and free standing studio barres, decorative followed by work (two winter George 8rown College and brassed wa ll units. Send for catalog . P.O . Box 1015, Stati,on B, Toronto Placement semesters) in Order now: Personal barre 5' single barre Ontario, CANADA management positions with style. M5T 2T9 Price: $59.95 plus $5.00 for shipping. Telephone (416) 363-9945 Performing Arts Companies Send check or money order to: throughout Canada. The DANCE INCORP., 206 Graif Bldg., Mankato, MN 56001 or call 507-388·4533 Placements give students the opportunity to apply the know­ ledge and skills acquired during SUMMER 1983 the fall semesters and to benefit UNIVERSITE "on-the-job" from the guidance ...-,~ ~, •., ,·. of seasoned professionals in AN I;.", .--,. CONCORDIA ~.,,~ the Performing Arts Industry. INVITATION TO UNIVERSITY PROGRAM COURSES Basic Communications/Introductory Accounting/Publ ic Relations / DANCE THIS Renseignement: Community Development / Human Universite Concordia Resource Management/ Marketing the SUMMER Performing Arts/Touring and Company Division des Arts Management/Performing Arts and 1455 de Maissoneuve Blvd., Ouest Society / Facilities Management/ Performing Arts Management Montreal, P.Q., H3G 1M8 Accounting/Fund Raising / June 24th - July 22nd (514) 879-5803 Organization Structure and Internal Relations / Performing Arts and Aestheti cs/Politics and Policies of the Artistic Director: B.F.A. With modern dance major. 3 Arts in Canada / Contract Administration and Labour Relations / Computers in Linda Fletcher year credited programme. Society / Performing Arts Management Programme de cours credites de 3 Workshops. ans. For detailed Information: For further information write to information write: or call: Concordia University Pointe East Ballet Performing Arts Division Denis Langelier Post Office Box 1900 1455 de Maissoneuve Blvd., W. Program Co-ordinator B Montreal, P.Q. H3G IM8 Performing Arts Management St. Andrews by-the-Sea (514) 879-5803 Confederation College A P.O. Box 398 New Brunswick, Canada L Thunder Bay, Ontario P7C 4W1 La langue de l'enseignement de (807) 475-6320 EOG 2XO L l'Universite est l'anglais. Les examens E et les travaux ecrits peuvent etre __POINTE EAST presentes en anglais ou en fram;:ais. DANCE IN CANADA 37

Noticehoard

GENERAL stage of the Shaw Festival ence, to be held in Ottawa Theatre last December. The (May 4-6) is also in the C Channel, "the national television Newcomers was planning stages. Discussion of lively arts pay television directed by the choreographer the "Applebert" Report will service", began broadcasting himself - a personal debut form the focus of this nationwide from Toronto on for Brian Macdonald as a conference. For more February I with a magnificent television director. He says he information contact Canadian fu ll-length production of The enjoyed the experience so Conference of the Arts, 141 Royal Ballet in Swan Lake, much he'd like to direct other Laurier Avenue West, Suite starring Anthony Dowell and choreographers' work for 707, Ottawa, Ontario. KIP . atalia Makarova. Other television! Newcomers repre­ 513. (613) 238-3561. dance programs in C sents C Channel's first major Channel's first month of . financial commitment to operations included a original Canadian creativity The Dance in Canada documentary portrait of and it is a tribute to the Association is busy putting Sonia Barton Makarova and televised collective wisdom of its the finishing touches to performances of the Joyce managers that they decided to arrangements for this year's Trisler Danscompany, the start with dance. English modern dance troupe annual DIC conference, to be ence '83 will include a special Hot Gossip, Pilobolus, the held June 8 to 11. Wise evening of "Saskatchewan Crowsnest Trio (founded in The Canadian Conference of dance-lovers are already Dances" (June IO). It will 1979 by one of Pilobolus's the Arts is holding a series of making their travel plans for represent the wide range of founders, Robby Barnett), and meetings across Canada to the trip to Saskatoon since the dance activity in the province, the New York City Ballet in discuss the recently-released 1983 Dance in Canada including ballet, modern, jazz, selections from its Stravinsky report of the Applebaum­ Conference will offer a tap, ethnic and children's Festival. Hebert Federal Cultural comprehensive range of events dance. C Channel's most adven­ Policy Review Committee. around the general theme of Each conference day will turous and promising These cross-country meetings education. open with a keynote address excursion into the dance which run through March are As in past years, the from a noted dance world so far has been its co­ designed to stimulate the conference is being organized personality. Evelyn Hart, the production with the National broadest possible public by a local committee but, in Royal Winnipeg Ballet's gold Ballet of Canada of a awareness of and involvement addition, Dance in Canada, medal winning ballerina, is television version of Brian in the govenment's response can now draw on the expertise among those who have been Macdonald's Newcomers. C to the report since this will of Miriam Adams, its new invited as guest speakers. Channel put up most of the shape Canada's cultural future Projects Co-ordinator. As usual, there will be money for the $300,000 and affect the lives of all (Together with her husband, classes to take throughout the production which was taped Canadians for years to come. Lawrence, Miriam Adams ran conference. David Adams, the at Niagara-on-the-Lake on the The CCA's annual confer- Toronto's renowned 15 Dance internationally renowned Lab during the 1970s. Both former ballet dancer who now were once members of the •teaches at Grant MacEwan National Ballet of Canada.) Community College in Those who have attended Edmonton will be in the past DIC conferences will studio as will Toronto's know that each event reflects popular, Brian Foley (for tap the particular character of its and jazz). Canadian Choreo­ host-city/region. Sonya grapher Norbert Vesak will Barton, this year's Conference give modern classes (and head Chairperson and a five-year a seminar on choreography). member of the DIC board of Classical Indian dancer/ directors, has done a teacher /choreographer Rina tremendous job in organizing Singha will lead a workshop and activating the Saskatche­ in teaching disabled children wan region. Local dance­ and Diane Miller, who has her lovers and citizens have been own school in Vancouver, will joined by municipal and teach a special children's provincial government offi­ class. Shirley Murray, artistic cials in support of Conference director of the Children and '83. Dance Association of Calgary Brian Macdonald's Newcomers during taping for C Channel pay In recognition of Saskatche­ will be conducting a lecture­ television. wan dance activities, Confer- demonstration and Marianne 38 DANCE IN CANADA

Livant of Saskatoon's Prairie outdoor picn_ic and hayride Dance Lab will be heading a planned for the final day. workshop session in music Those planning to attend and dance. the Saskatoon conference Among applications to should not wait too long to perform during the conference settle their travel and are those from Winnipeg's accommodation planr Rooms Contemporary Dancers, can be booked at reasonable Vancouver's Terminal City rates in one of the University Dance Research and Pacific of Saskatchewan residences Ballet Theatre, Calgary's and there are two hotels Sun• Ergos, Edmonton's Brian downtown to house the Webb Dance Company and sybarites. the Canadian Children's There are sizeable reduc­ Dance Theatre (based in tions for people who apply Toronto). Judith Marcuse and before April I so start Judy Jarvis, both former planning now. winners of the Chalmers For the details, contact Award for Choreography, are Sonya Barton, Dance among the large number of Saskatchewan Inc., Box 502, Sir Anton Dolin rehearses Pacific Ba ll et Theatre dancers Charie Evans (left) and Suzanne Ouellette in his Pas de Qua,re. independent Sub P.O.6, Saskatoon, dancer /choreographers likely Saskatchewan S7N 2P9. to appear in Saskatoon. A Gala Performance of BRITISH COLUMBIA as Giselle and Pas de Quatre. in Vancouver in November. Canada's leading artists will Pas de Quatre is a short The week of workshops, be held on the Saturday Sir Anton Dolin, a living ballet originally choreograph­ lectures and panel discussions evening of the conference in legend of ballet in the 20th ed in 1845 by Jules Perrot for on dance criticism is co­ downtown Saskatoon's century, was in Vancouver in four of the greatest ballerinas sponsored by Simon Fraser Centennial Auditorium and January to set the classic of the time - Marie Taglioni, University Centre for the Arts this closing event will include 19th-century ballet Pas de Carlotta Grisi, Lucile Grahn and the Dance in Canada presentation of the 1983 Quatre for the Pacific Ballet and Fanny Cerrito. Dolin Association. Negotiations are Chalmers A ward and be Theatre. Dolin 's illustrious chose Charie Evans, Donna underway with Deborah followed by a big party. career began with the Kelly, Suzanne Ouellette and Jowitt (dance critic for the The busy schedule of daily Diaghilev Ballet Russe in Merrill Lochhead, respect­ Village Voice and for many activities - classes, seminars, Paris in the early 1920s. In ively, to dance their roles for years director of the Critics workshops, research papers, 1950 he founded the London PBT's premier performance of Conference at the American Dance in Canada forum Festival Ballet with Dame Pas de Quatre at the Surrey Dance Festival), Max Wyman meetings, etc., will not prevent Alicia Markova and since Arts Centre in January. (Canadian dance historian delegates from finding time to then has worked with ballet and critic for The Vancouver meet old friends and make companies around the world, The First Canadian Dance Province) and William Littler new ones. There's even an mounting such ballet classics Critics Conference will be held (music and dance critic for

THEATRE BALLET OF CANADA Tour Schedule, Winter/Spring 1983

St. Catharines, Ont. Brock University February 6 Waterloo, Ont. University of Waterloo February 8 Guelph, Ont. University of Guelph February 10 Oakville, Ont. Oakville Centre February 11-12 Simcoe, Ont. Composite School February 13 Montreal, P.Q. Centaur Theatre February 23-26 Deep River, Ont. MacKenzie High School March 3 Halifax, N.S. Rebecca Cohn Auditorium March 19 Wolfville, N.S. Acadia University March 20 St. John's, Nfld. Arts & Culture Centre March 22 Alberton, P.E.l. Westisle Theatre March 26 Moncton, N .B. Moncton High School March 27 Fredericton, N.B. The Playhouse March 29 St.John, N.B. St. John High School March 30 World- wide booking by Ottawa, Ont. NAC-Theatre April 12-13 General Arts Management Inc. ~ Carmel, Cal. Sunset Centre April 27 4 71 Queen St East. O Los Angeles, Cal. Loyola Marymount April 29 THEAIRE !Will Toronto, Canada M5A 1T9 ®:(A."'1Y, University Telephone: ( 416) 363-1468 DANCE IN CANADA 39

The Toronto Star) to lead name. Working on a Phakavali Dancera of paintings, some are portraits, writers' sessions. Conference suggestion from Grant Strate, Thailand. In the following others lyrical inner land participants will also attend head of Simon Fraser years he gave Vancouver such scapes, all in vibrant colours. movement classes, visit local University's Centre for the internatiorially celebrated Also on the program was dance studios and resource Arts in Burnaby, the B.C. companies as the Joffrey Small White Poems which was centres, view dance films and region committee hired a Ballet, Dance Theatre of designed by Welsh artist video tapes and attend popular, local 7-man New Harlem, Twyla Tharp and Glenys Cour for Sun• Ergos' numerous dance performances Wave group called The many, many others. Lui's recent tour of the U.K. by local and touring Beverley Sisters to provide the business almost went under in companies. A timely co­ entertainment. "The party", 1978 as a result of the Dancers Studio West of incidence is the Vancouver commented Strate, "was great unprofitable operation of the Calgary has received a appearance of the Sadler's and it means we're in business theatre he had built (mainly $19,000 grant from Alberta Wells Royal Ballet as part of again as regional branch". for dance performances) three Culture to assist its its North American tour. For years before. He blames his operations. Studio renovations information contact: Critics collapse on the recession in are currently in progress, Conference Committee, David Y.H. Lui, the general and on the strike by which, DSW director Elaine Centre For The Arts, Simon Vancouver-based impresario Vancouver civic workers two Bowman says, will produce Fraser University, Burnaby, who, during the past 13 years years ago which effectively "the best dance studio space B.C. V5A IS6. did much to turn his local shut down the Queen in Canada". DSW is citizens into a body of dance­ Elizabeth and Playhouse "Bye, Bye, Beatty Street" was sponsoring a performing series lovers by presenting the best Theatres where Lui presented the title of a smash-hit New of independent dance artists in ballet and modern dance, most of his attractions. Year's Eve fund-raising party from across Canada. The filed for bankruptcy on The failure of the Lui held by Dance in Canada's series opened in January with January 31. Lui said that he organization, however, is not B.C. regional office. The a group of independent was almost $500,000 in debt expected to affect the event, which attracted more Calgary dancers including and that advance ticket sales scheduled cross-Canada tour than 400 revellers and raised Faye Rattray and Donna for his upcoming events had of the Sadler's Wells Royal $1, I 00 for the regional office, Krasnow. Performances in been so bad he had little Ballet this fall . (Lui had been was held in the Vancouver March include Toronto's choice but to fold his hired as the Canadian Playhouse's old, soon-to-be­ Pavlychenko Dancers, business. Lui presented his impresario). The Canada vacated rehearsal rooms on Vancouver's Barbara Bourget, first event in Vancouver on Council's Touring Office, Beatty Street, thus the party's Edmonton's Formolo and February 16, 1970 - the which had already planned to Urban, and Adrea support Lui's efforts, said in Rabinovitch. The series closes early February that it would next September with Louis see that the tour went ahead. Guillemet from Montreal.

The World University Games ALBERTA will be held in Edmonton this year during July. Lilianna Montreal, Canada The Banff Centre celebrates its Elenka is the organizer and 50th anniversary this year and Focus on Jazz is an intensive optional-residential dance choreographer of the opening program which brings together top choreographers, teachers is inviting all former students, and closing ceremonies and in and students from around the world. faculty and administrative this capacity is looking for Guest Artists staff to return for a 8,500 volunteer performers, Homecoming week this JAZZ: RICHARD JONES, Massachusetts, USA rehearsal directors and spring. The celebrations will CLAIRE PATRY, Quebec, Canada administrators. Volunteers DANNY PEPITONE, New York, USA take place April 30 to May 8. must be 14 years of age and ANNE MARIE PORRAS, Montpellier, France A 60-minute film on the older. For information call PATRICIA STRAUSS, Florida, USA centre by the National Film 422-7132 in Edmonton. Board is to be released also. BALLET: MANON LARIN, Quebec, Canada All Banff Centre alumni are encouraged to contact the The Alberta Ballet Company's MODERN: LOUIS SOLINO, New York, USA Alumni Office, Banff Centre, winter season in February in This three-week session consists of a daily schedule of: Box 1020, Banff, Alberta. T0L Edmonton and Calgary • classes 0C0. Phone (403) 762-6100. featured the Canadian • lectures and films premiere of A Night in the • workshops leading to closing public performances, Sun• Ergos premiered A Day of Tropics by resident choreo­ making Focus on Jazz Two Moons January 21 at grapher Lambros Lambrou as an exciting, unique dance experience. Calgary's University Theatre. well as revivals of Lambrou's Jeanne Marler It is the company's newest Shostakovitch Piano Concerto cl o Centre de danse Jeanne Marler dance-theatre work in and Norbert Vesak's The Grey 276 rue, St. Jacques, Suite 906 collaboration with a designer. Goose of Silence which has a Montreal, Quebec H2Y IN3 Calgary artist Susan Gorris haunting score by Canadian (514) 849-0001 has created an environment of singer/composer Ann Morti­ towering sculptures and fee. 40 DANCE IN CANADA

SASKATCHEWAN rest of the country will have the opportunity to see STB at Saskatchewan Theatre Ballet, the eleventh Annual Dance in which made its official debut Canada Conference to be held last November, started the in Saskatoon June 8-1 I. new year off with a tour of Saskatchewan during January and February performing in MANITOBA Y orkton, Swift Current, Kamsack and Prince Albert. Winnipeg's Contemporary The province's first ballet Dancers spring season (May company consists of three 4-7) will feature the premiere professional dancers: Marie of associate artistic director Nychka-Blocka, April Chow Stephanie Ballard's latest and Lorne Matthews, and five w9rk, Spring Training, and the apprentices. Seven of the eight company premiere of Jose dancers are Saskatchewan­ Limon's The Exiles. the story born and have received much of Adam and Eve's expulsion of their dance training in the from the Garden of Eden. province. The STB performs a New York choreographer Dan mixed-program of short works Wagoner will also create a including dances by company new work for the company. members as well as works by Contemporary Dancers will Suzanne Ouellette of Van­ tour southern Ontario in couver's Pacific Ballet Theatre April with appearances at and Petre Bodeut. The Toronto's Harbourfront fledgling company's first order (April 28-30) and The of business is to bring high National Arts Centre in quality dance entertainment to Ottawa as well as a number of audiences in the cities and smaller communities. Con­ towns of Saskatchewan. The temporary Dancers Appren-

The 1983 International Summer School in Benesh Movement Notation

University of Waterloo Waterloo, Ontario July 25 - Aug. 12, 1983 Marie Nychka-Blocka partnered by Lorne Matthews: both are members of Saskatchewan T heatre Ballet. tice Company under the schedule with bookings as far­ directorship of Odette Heyn, flung as Labrador and the A unique opportunity to study classical ballet and contemporary also has a full touring Yukon. dance repertoire toward a professional notator·s·certification.

Special sections offered for students, teachers and professional director dancers. MARGO PERRY ballet master Summer School Faculty St-ud10 Subject to professional commitments, the faculty will include RICHARD Monica Parker, Director, Institute of Choreology, London; 103 SUGARMAN Wendy Walker, Choreologist, American Ballet Theatre, N.Y.; Ilana Suprun, Choreologist, Bat-Dor Dance Company, Tel Aviv; and The Professional's Elizabeth Cunliffe, formerly Choreologist, Sadler's Wells Dance Studio Royal Ballet and Ballet Rambert. for information call Further information: Benesh Notation Summer School, (416) 968-7050 c;o Dance Department, University of Waterloo, 1 03 Bellevue Waterloo, Ontario, N2L 3G1 (519) 885-1211 Toronto, Ont. MST 2N8 Enrolment limited. Enquire now. DANCE IN CANADA 41

ONTARIO the National Ballet's regular with National Ballet principal Robinson, last year's three-week winter season at Frank Augustyn. recipient, at the annual Dance Preliminary plans for the the O'Keefe Centre in Ontario Conference in Toronto International Festival Toronto (9-27 February) and The Queen's Quay Theatre, recognition of their contribu­ 1984 were announced in included the appearance of Harbourfront's new dance tion to the growth and January. This enormous Alexander Grant as the mad theatre will not open officially development of dance in cultural undertaking will alter Dr. Coppelius - his debut in until September 20 when a Ontario through their life in Toronto for the entire the role. The season saw the week of gala dance dancing, teaching and month of June 1984, turning revival of Ashton's The Dream performances by companies choreography. the city into an international and Tudor's Offenbach in the from across Canada is centre for the performing arts. Underworld. A new ballet by planned. Meanwhile, negotia­ The Toronto Dance Theatre The Festival will present James Kudelka, Hedda, tions are underway for the moved into its 15th artists and attractions from all received its premier perform­ new theatre to actually begin Anniversary Season with a over Canada as well as many ance on February 18 and operation on May 17 with the series of concerts devoted to Michael Peters, co-choreo­ other countries including the hit musical Snoopy which will the work of each of its US , the UK, Japan, India, grapher of the Broadway hit open as part of the Toronto founding directors. The series Ghana, Cuba and Austria. Dream Girls created a new International Children's began with the "David Earle Dance companies already ballet Quartet for the Festival (May 17-22) and then Retrospective" in February. confirmed for the Festival are company. Canciones, origin­ run all summer long. Of the 35 works Earle has Sankai Juku from Japan,. the ally created by company With the formal opening of choreographed for the Dance Theatre of Harlem and resident choreographer the Queen's Quay Theatre the company Frost Watch, the National Ballet of Canada Constantin Patsalas for the rental policy at Harbourfront Baroque Suite and Bugs were presenting the company Ballet Camera Contempor­ will change. As of September chosen to highlight his first premiere of John Cranko's aneo in Venezuela and later I, 1983 a guaranteed rental retrospective. "The Dances of Onegin ( 1965). Specially presented at the National's fee will be charged in all of Patricia Beatty" included commissioned by the Festival, 1980 workshop, was also the performing spaces against three classics - Study for A Onegin will feature artists included in the O'Keefe mixed 25% of the ticket gross Song in the Distance (1969), from the National and programs. (whichever is greater). The Lessons in Another Language Stuttgart Ballet in the lead Yoko Ichino, who joined the per day rental rates for non­ ( I 979) and Against Sleep ·roles. National Ballet last September commercial companies will be (1968). The company will and made such a strong as follows: Studio Theatre - present its second program impression in her early $150, Brigantine Room - devoted exclusively to the company performances, joined Erik Bruhn was named on $175, Queen's Quay Theatre works of Peter Randazzo Kevin Pugh as the pair made December 8 to succeed - $500. March 2 to 5. "Randazzo Alexander Grant as the their debut in the leading Revisited" will include two roles of Titania and Oberon National Ballet of Canada's The Fifth Annual Dance poignant solos - Enter the in The Dream. The National's artistic director. Grant Ontario Award was presented Dawn ( 1982) and Untitled Solo winter season repertoire was relinquishes the post on June in December to Patricia ( I 970). 30 this year. Bruhn has had a completed with performances Beatty, David Earle and Peter of Giselle. Evelyn Hart of the long association with the Randazzo, the co-founders and Pavlychenko Studio, Toronto's National Ballet since the early Royal Winnipeg Ballet joined artistic directors of the centre for independent sixties as a dancer, the company as guest artist on Toronto Dance Theatre. The dancers, presented a program choreographer /producer and February 26 to dance Giselle award was presented by Brian of new works in February at as a teacher. He has also Harbourfront. The choreo­ worked with the students of graphers, Gail Benn, Kathryn the National Ballet School as Brown, Susan Cash, Claudia a guest teacher on many Moore, Holly Small and guest occasions. The National's artist Elaine Bowman all productions of Swan Lake, La contributed works to an Sylphide and Coppelia were all evening with an overall design staged by Bruhn and he also concept by Lawrence Adams. produced the company's Adams endowed the Brigan­ version of Les Sylphides, with time Room with a cabaret Celia Franca. Bruhn has atmosphere complete with already stated that he regards audience seated at small an expansion of the tables, a continuous open bar, company's facilities for friendly waiters and waitresses coaching and rehearsal as a and lively commentary top priority although he has throughout the show. no plans to make any In March Benn, Brown and sweeping internal changes Cash will represent Pavly­ until both he and the chenko on tour in Alberta company have had time to ....; --- performing at the new adjust to each other. Erik Bruhn artistic director designate of the Na ti ona l Ba ll et of Canada Calgary Studio Theatre as Bruhn's Coppelia opened in rehearsal wi th Ve ronica T ennant a nd Tomas Schramek. part of the Dancers' Studio 42 DANCE IN CANADA

West Independent Dance director Jean-Pierre Perrault Series (March 4, 5). They will returns to work with the DANCE IN CANADA perform with DSW at company in March and Medicine Hat College Theatre Marsha Blank from New ~~~~~l ~©~f~~~~~~ (March 8) and Red Deer York will be guest teacher in Memorial Centre (March 10). April. Following this intensive winter rehearsal period Le The Paula Moreno Spanish Groupe will present its next Dance Company has a new Choreographic Events series home at St. Paul's Church, (April 22, 23 , 29, 30). 121 Avenue Road, Toronto. Immediately following the spring performances the Alain Forest City Gallery in London, Bauguil Theatre Company Ont., has moved to spacious from Firminy, France will be new quarters at 231 Dundas in residence at Le Groupe's Street. The Gallery's first Sparks Street studios (May 2- dance series opened in 20). January with Montreal choreographer Daniel Leveille. Theatre Ballet of Canada T.I.D.E. and Lucie Gregoire began 1983 with a tour of performed there in February southern Ontario and many well-known Montreal Toronto's Musicdance and in March London Montreal. In March the dancers including Marie Orchestra (March 11, 12) and audiences will see Toronto's company tours the Atlantic Chouinard, Edouard Lock, T .I.D.E. (March 18, 19), Musicdance Orchestra (March Provinces performing in St. Jean-Pierre Perreault, Jo Vancouver's Terry Hunter/ 21) and Jennifer Mascall John's (March 22), Alberton Lechay, Benoit Lachambre, Savannah Walling .(March 26, (March 31). (March 27), Halifax (March Silvy Panet-Raymond and 27) and Jennifer Mascall The University of Windsor 19), Wolfville (March 20), Linda Rabin. Tangente has an (April 8, 9) and Montrealers sponsored a dance series this Fredericton (March 29), Saint impressive line-up of dance Paul Ducharme (April 1, 2) winter at the St. Denis Centre. John (March 30), and performances this spring Jacqueline Lemieux, Alain The series opened with Nonce, Moncton (March 27). TBC beginning with Julie West Bergeron, Jacques Garofano a company from Detroit and then returns to Ottawa for its (March 3-6) and including and Carolyn Shaffer (April presented Gina Lori Riley in annual home season at the January and Ottawa Dance National Arts Centre (April Theatre in February. The 12, 13). The program this University of Windsor season features a new work by Dancers closes the series Lawrence Gradus to the March 20. music of Mozart. Company ballet mistress Margery Ottawa Dance Theatre Lambert makes her choreo­ premiered it's new work Alice graphic debut and the Through The Looking Glass on company will give its first January 7 at the National performances of Antony Arts Centre, Theatre. The Tudor's 1972 ballet Fandango. work, choreographed by There are three new dancers Judith Davies, represents a at TBC - Marcel la Rochelle, major community involvement formerly of Les ballets Jazz, featuring dancers from ODT, Deborah Smith from Anna the Nepean Symphony Wyman Dance Theatre and Orchestra, several actors and Winnipeg's Contemporary numerous children from Dancers, and from Poland, regional dance schools. Alice Zdzislaw Zielinski formerly of was jointly presented by the the Mazowsze Dance National Capital Performing Company. Arts Foundation and the National Arts Centre. QUEBEC Le Groupe de la Place Tangente danse actuelle has Royale's artistic director Peter moved to 307 ouest, Ste­ Boneham has created a new Catherine, Montreal, the work for the Ottawa company larger, more centrally located based on Gertrude Stein's space that was formerly play Dr. Faustus Lights the occupied by Vehicule Art. An Lights with a score by official opening benefit was Montreal composer John held February 18 and 19 Plant. Associate artistic featuring performances by DANCE IN CANADA 43

I 5, I 6) and Andrew Harwood/Jo Leslie (April 29- May I). Dansons Montreal is a new dance contest which was held at Montreal's Tritorium in January. The organizers, Suzelle Cerantola and Claude Cote, modelled the contest after similar events sponsored by the Friends of Art in the late 1940s and after contests currently held in England, the U.S. and Australia. More than 300 dancers auditioned in the three separate categories of ballet-jazz, modern and contemporary dance. A classical ballet category will be added next year. A jury of eight dancers, choreographers and teachers selected 25 semi­ finalists and Ludmilla Chiraeff awarded first prize - a scholarship to the Luigi or Alvin Ailey School in New York. "A simple 'NO' will do, thank you!" <;:a ne coute pas plus cher de le dire! More than 700 people watched the 22 finalists expected to appear in Toronto compete. First prize was during April for performances shared by Marie-Josee Paradis at the Theatre Passe Muraille. and Chantal Cote, both of the Dansepartout company in Quebec City. Second prize The Dunn Thing - a went to Roxane D'Orleans performance which combined Juste and Claire Hardy won dance, acting, music and mime the the third prize. - was held in Halifax, December 12, in the Sir James Dunn Theatre. The cast of NOVA SCOTIA e1ght local performers presented a total of 23 Nova Dance Theatre, in disconnected episodes which collaboration with filmmakers took them to all corners of Christopher Majka and the auditorium. This imagina­ Gordon Parson, produced a tive and unusual theatrical half-hour film focusing on production included a meet­ two works by artistic director the-cast party backstage and Jeanne Robinson. The film is three days later audience to be broadcast on Pay members were invited to the Television C-Channel. performers' studio, The Other Space, to watch a video to express reactions to the show. Terrill Maguire, well known across Canada as a dancer/ teacher/choreographer, was in NEWFOUNDLAND Halifax during the fall for a residency at the city's Dance Atlantic Dance Company is a Exchange, sponsored by the new troupe in St. John's Eye Level Gallery and the formed to give student Nova Scotia College of dancers an opportunity to Design. She also completed a perform. The company made residency, including, as in it's debut in December with Halifax, a series of The Nutcracker Dream Suite performances at the L.S.P.U. and has planned several The cast of The Dunn Thing. Standing, left to right: Duncan Hol . Theatre in St. John's, workshop performances for Diane Moore, Sandy Moore and Sherry Lee Hunter. Pat Richards is Newfoundland. Maguire is the new year. a strangle-hold . Upside down are Ellen Pierce and Angela Holt. 44 DANCE IN CANADA

Dance at a Glance

Les Ballets Jazz, Ecole Superieure The Friends of Terpsichore Russian Academy of American Dance Guild 1231 St. Catherine St. W. All types of DANCE BOOKS bought Classical Ballet Ltd. Book Club (514) 849-6071 and sold. Catalogue available. Mary Aslamazova, Director. Classes Ballet, modern, technique, biography: Montreal, Quebec H3G !PS P.O. Box 563, Postal Station Q for children and adults, day and the best and the newest at discount. Ministry of Education Toronto, Ont. M4T 2N4. evening, from beginners to Write Box 109, Princeton. NJ 08540 Permit #749889 (416) 651-7262. professionals. 935 Bloor St. W. (at USA. Jazz, Classical, Tap Ossington), Toronto, Ontario, M6H Prof. Adv. int. Beg. Goh Ballet School I L5 (416) 532-2993. The School of Dance Scholarships. Classical ballet, chinese dance, Merrilee Hodgins/ Joyce Shietze Founders: Genevieve Salbaing, character, jazz, pre-school to adult, The School of the Toronto 1339 Wellington St., Ottawa, Ont. Eva van Gencsy. professional training program. 2 Dance Theatre K IY 3B8. (613) 729-3756. st udios in Vancouver, BC. 30 Winchester Street, Toronto, Ontario Pre-Professional Programme Junior Les Ballets Russes de Montreal (604) 572-4014. M4X IB2 (416) 967-6887. and Senior School. Director: Mikhail Berkut. Classical Three-year professional training Ballet (Russian Method), Ba ll et-Jazz, Le Groupe de la Place Royale programme in modern dance. Entrance The Kathak Institute, Rina Singha Character Dances, Beginners to Classes in modern dance, ballet, by audition only. Also offering open Ancient classical temples and court Professionals. Courses year round. creative movement, composition and classes in modern and exercises for dances of north India. Training. beg. Ka linka Slavic Dance Company. voice. Beg. to prof. 130 Sparks St., adults and children. Principal: Christel to prof. rese arch and conservation. 173 1231 St. Catherine St. W., Montreal Ottawa (6 13) 235-1492. Wallin. Coxwell Avenue, Toronto M4L 384. H3G IP5; (514) 288-1677. (416) 463-1710. Diana Jablokava-Vorps School of Joseph Shulman, The Other Bella Kovarsky is now Director Classical Ballet - Kirov Method Agency, Public Relations of the Bayview School of Ballet. Art. Dir.: Toronto Regional Ballet and 1179A Bloor St. West, Toronto, Ballet (Russian Method) character Toronto Summer School in Dance. Ontario M6H JM9. Telephone (416) and Jazz. All levels. 130 Willowdale 1920 Avenue Rd., Toronto, Ont. M5M 532-6519. Ave., Toronto. (416) 222-5111. 3B9. (416) 489-7597. Lois Smith Canadian College of Dance- Literally Dance and Opera George Brown College Ryerson Theatre Dept. Dance books, dancewear, dance gifts. School of Dance Teacher training Course. Coaching 46a Sherbourne St., Toronto M5A 2P7. 200 King Street East, Toronto. for RAD and ISID exams. 50 (416) 366-7165. (416) 363-9945. Gould Street, Toronto M5B JES, Ballet, Pointe, Character, Modern, 595-5086. Kyra Lober Jazz, Junior, Senior and Adult Classes. Developmental Movement Two-year diploma program­ Ecole Dansepartout Repatterning, a therapeutic method professional level. Casier postal 597, Haute-Ville, 336, rue which facilitates one's ability to move de Roi, Quebec, Quebec GI R 4S2. with more freedom , ease, grace and Sun Ergos, A Company of (418) 525-4657. Permis du ministere de efficiency. Private sessions and Theatre and Dance Classified !'education #669584 Cours de danse workshops. Also classes in Feldenkrais Dana Leubke & Robert Greenwood, classique, danse moderne, jazz, danse Awareness Through Movement. Call Directors 2205, 700-9th St. SW., creative; ateliers; programme de (416) 924-3469 Toronto. Calgary T2P 2B5. Tel. (403) 264-4621. boursiers; (debutants a professionnels). Ansperience, July 4-22, Canadore Performances-Classes. College, P.O. Box 5001, North Bay , Lomi Bodywork Centre of Movement, Ontario, PIB 8K9. (705) 474-7600. Deep-tissue massage working with Theatrebooks Limited Dance July 11-22, ballet, tap, modern , 171 Hampton Ave., Toronto M4K breath and awareness toward physical 659 Yonge Street, Toronto, Ontario, 223, 466-9549. Private sessions, jazz. Dance teachers' weekend and emotional release, more aliveness M4Y 129. workshop, July 10, 11. Instructors classes & workshops. and joy. Change posture and character Canada's finest selection of Dance Teacher/Director: Leslie French. include Renee Rouleau, Suzette thru self-awareness massage. Fred books. Sherman, Bill Orlowski. Schloessinger. By appointment. Classical Jazz Dance Company (416) 653-1204. Anna Wyman School of Hal Mischka, Director. Blending Ballet Dance Arts wit h contemporary jazz movements. Grant MacEwan 1705 Marine Dr. West, Vancouver, BC 427A Queen St. W., 3rd fl., Community College V7V IJ5. Contemporary, ballet, jazz, Toronto M5V 2A5. Edmonton Alberta. 2 year diploma dance exercise. Children's training (416) 593-0696. program. Nationally renowned program and adult classes. instructors. Call 1-403-483-233 I. (604) 926-6535. PEI Ballet Association (Ballet, Pre-Ballet, RAD, Adult, Lumitrol Limited York University: Jazz-Stretch, ISTD National) Spotlights, Dimmers, Curtains, Dance Department Classes Mon-Sat. Info (902) 892- 16 JO Supplies, Professional System design, Dianne L. Woodruff, Chairperson, or (902) 436-2498. PO Box 2384, rentals, sales. 253 Merton St., Toronto, B.A. (Hons), B.F.A., (Hons) in Charlottetown, PEI, CIA SCI. Ontario M4S IA 7. (416) 485-4817. Performance Choreography, Notation, Teaching, History, Criticism, Dance Concordia Un iversity Ontario School of Ballet Therapy; M.F.A. in History and 714 1 Sherbrooke St. West and Related Arts Criticism. SUMMER SESSION: Credit Montreal, Quebec H4B JR6 1069 St. Clair Avenue West (midway or non-credit. (416) 667-3243, 4700 Developing Programme in Modern between Oakwood and Dufferin), Keele St., Toronto, Ontario dance & Creativity in scholastic year. Toronto, Ont. M6E IA6, Phone: 656- M3J IP3. Professor Elizabeth Langley. 9568. Registrations accepted 4 terms Tel: (514) 879-5803. per year. School of Winnipeg's Ontario Ballet Theatre Contemporary Dancers Simon Fraser University Centre Performing Oct. 25-April 30. For Modern, Ballet, Creative Dance, Jazz. for the Arts information call: 656-9568. General, Pre-Professional, Professional Grant Strate-Director Programmes. 2nd Floor. 444 River BA degree program with a dance Quinte Dance Centre Avenue, Winnipeg, Manitoba R3L major in an interdisciplinary fine and Full professional program to graduate 0C7. (204) 452-1239. performing arts department. level. Enquiries invited for winter and Contact Tony Besant summer schools. Box 534, Belleville, (604) 291-3363. Ont. K8N 5B2 (613) 962-9938.

Royal Winnipeg Ballet School Guest Teachers Professional Division,David Moroni, Principal Galina Yordanova (Bulgaria) - Ballet Sandra Neels (USA) - Modern Summer Session The Programme Peter Pawlyshyn (Can) - Character Ages 9 - 13 (three levels, the first Special Features 1983 July 14-August 18, 1983 . I , requires no previous training) Ballet, Pre-Character or Character, Exercise, Seminars on Dance Injury Prevention, Weight Management, Nutrition; he RWB School Summer Session, Creative Movement, Pointe (dependent upon level of proficiency). recreational activities; access to pool, Tin residence at the University of sauna. Manitoba, is open to students at all levels Ages 14 & up (three levels, including of development beginning at age nine. II , special boy's ballet level) Ballet, Teachers Seminar Ballet technique is based on the Volkova . Pointe, Character, Pas de Deux (by development of the Vaganova (Leningrad) audition only), Modern, Jazz. July 30 -August 5 School combined with the Cecchetti Ages 17 & up (three levels, Classes in technique and theory, method. III , including Men's and Women's discussions and lecture-demonstrations. Elements of both the Russian (Vaganova) The Summer Session serves as Master Classes) Ballet, Pointe, the audition period for the intensive Variations, Pas de Deux, Repertoire, and Cecchetti syllabus included. fall-winter session. First priority for Modern Jazz. placement in summer session is given to NOTE: Students are placed in the Summer School successful candidates from the summer appropriate programme by staff, with Audition Dates session auditions (cities and times listed consideration to prior training. Saskatoon - Saturday, March 12 below). Second priority is given to The Teaching Staff Edmonton - Wednesday, March 16 students from cities where auditions Calgary - Friday, March 18 have not taken place. Early registration David Moroni, Principal Vancouver - Monday, March 28 is recommended as space is limited. Jacqueline Weber, Vice-Principal Victoria - Wednesday, March 30 The Summer Session may be Julia Arkos Arlene Minkhorst Winnipeg - Saturday, April 23 undertaken for the full five weeks, or as Alla Savchenko Elaine Werner Ottawa - Saturday, May 14 a three week session. Elaine Otis Toronto - Saturday, June 11

FOR ADDITIONAL INFORMATION OR REGISTRATION FORMS CONTACT: James Hutchison, Registrar, Royal Winnipeg Ballet School Professional Division, 289 Portage Avenue, WINNIPEG, Manitoba, R3B 2B4, (204) 956-0183.