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Dance in Canada Association (A Non­ Les Ballets Jazz: a Tough Decade 14 Profit Organization 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 ..
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  • MEDIA PACK [email protected]
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