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Steel Pamela R 2020 Phd.Pdf (2.293Mb) EXPLORING THE LIFE AND WORK OF GLADYS FORRESTER: A CANADIAN DANCE EDUCATOR, 1936-1998 PAMELA RAE STEEL A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO JANUARY 2020 © PAMELA RAE STEEL, 2020 ii ABSTRACT The current body of literature regarding dance history in Canada is informative and expanding, focusing predominantly on professional schools, dancers, choreographers and companies. There is much yet to be said, however, regarding individual dance educators, their instructional practices and influence on the subject of Canadian dance evolution and culture. This research investigates one mid-twentieth century, Toronto dance teacher, Gladys Forrester, expanding the body of knowledge specific to her career and contributions within the context of Toronto (and Canadian) dance history. Through archival and oral language research methodology Gladys Forrester’s professional dance and teaching praxis comes to light. This study describes issues and lays bare existing specific “phenomena” in order to gain greater insight into historical events (Sagor 156). The goal to understand Gladys Forrester’s dance practice and pedagogical philosophy enables an exploration of the Toronto dance culture of her time, clarifying her legacy and influence on today’s dance community. In addition, research aims to represent the “human experience” of the subject in such a way that “readers or viewers” are drawn into the “interpretive process” of making meaning based on their own reading and reality (Cole and Knowles 11). The exploration of materials provides insight into the life and work of a forgotten voice and presence in history. Approximately 30 interviews designed to identify Forrester’s particular profile and contribution reveal information categorized within the frames of: the Christian Science religion and the psychology of “flow,” and teaching pedagogy and philosophy. Results of the information analysis provide a variety of findings that survey Forrester’s unique approach, the quality of her teaching and her role in the dance community. iii Dedicated to the memory of Gladys Forrester And the spirit of dance iv ACKNOWLEDGEMENTS I would like to express my deepest gratitude to Dr. Norma Sue Fisher-Stitt, Professor in the Department of Dance, for her advice, support, time, direction, understanding and encouraging guidance since the beginning of this research endeavour. Thank you to Jim for his insights and technological support as well as my family for their patience and optimism. I sincerely appreciate and wish to acknowledge the contributions and efforts of the individuals who knew Gladys Forrester and participated in this project. Their generosity and commitment were instrumental in supporting this work, and sharing their personal insights provided time to journey with me to the past and shed further light on “Miss Forrester.” v TABLE OF CONTENTS Abstract………….……………………………………………………………… ii Dedication………………………………………………………………………. iii Acknowledgements…………….……………………………………………….. iv Table of Contents……………………………………………………………….. v Chapter One: Introduction……………………………………………………….. 1 Chapter Two: Methodology……………………………………………………… 13 Chapter Three: Literature Review……………………………………………….. 27 Chapter Four: Biography…………………………………………………..…….. 72 Chapter Five: Reflections and Recollections ……………………………………. 117 Theme One: Religious Beliefs and Philosophy ……………………………… 123 Theme Two: Pedagogy and Teaching Philosophy…………………………… 192 Chapter Six: Discussion and Conclusion …………………………………..……. 227 Endnotes………………………………………………………………...……….. 243 Works Cited………………….……………………………….………...……….. 246 Bibliography……………………….…………….………………………………. 261 Appendices Appendix A: Research Participants ………………….…………………..….. 275 Appendix B: Interview Reflective Questions & Guideline for Discussion….. 278 Appendix C: Ethical Standards and Standards of Practice for Teaching……. 281 Appendix D: Summative Report Form for Experienced Teachers……..……. 283 1 CHAPTER ONE: INTRODUCTION I remember my dance teacher, Gladys Forrester, as a glamourous woman with an optimistic and affable disposition, who at the end of her teaching day packed her signature beige Volkswagen “beetle” (car), with cases of lesson plans, books and other resources in preparation for her short drive home to Thorncrest Village. When I was one of her senior dance students and working towards my RAD Solo Seal examination, she often drove me home at the day’s end, since we lived in neighbouring areas, about five minutes from each other. Miss Forrester’s cornflower blue eyes twinkled when she spoke. She, herself, had many stories to tell which she punctuated with humour and panache. Miss Forrester was articulate and always communicated with purpose and insight regarding her primary interest, which was dance. A modern woman, dressed in fashionable attire, she engaged tirelessly in her studio dance practice seven days a week. As her dance student, I recall that Forrester was always busy with on-going projects in conjunction with her teaching. She searched constantly for strategies that would help each one of the students, in my class, improve their understanding and ability to move as a dancer and communicate feeling. She never appeared to give in to defeat or give up on reaching this goal. Although I was often late, she never chided me. I was a strong student and she accommodated my ability to learn and progress quickly, helping me to move ahead so I 2 remained challenged and engaged. Her tremendous technique, knowledge and ability to perform many forms of dance captured my attention and great respect. When demonstrating in class, Forrester moved with confidence, purpose, grace, and projected an aura of weightlessness. Having embodied Forrester’s teachings, my own body movement is still internalized as a collection of tendons and muscles that stretch and press limitlessly and behave like elastic bands. When I move or dance the pressure from my body and body motion gently displaces the atmosphere (air) around me. I stretch to grow taller and elongate with each step. Even today, Miss Forrester’s voice remains imprinted in my mind and movements. Dance studios in Toronto flourished and by the late 1960s and 1970s there were several established schools along with the pre-professional Canadian Junior Ballet affiliated with the dance school of Diana Jablokova Vorps. At the advent of this era, 1960, I followed in my two sisters’ footsteps and enrolled at the age of five in ballet classes with Gladys Forrester. My family had moved to the west end of Toronto. Gladys was a local dance teacher who lived and taught within walking distance of our home. Dance classes were held at the Thorncrest Village Club House. The meeting room, which doubled as the studio, looked over the outdoor pool and gardens. The allure of this poetic setting faded all too soon when I discovered the discipline of ballet. For the next twelve years, dance as well as Miss Forrester, played a central role in my young life. After many years as an educator, I have since gained an appreciation of the role of teachers, the demands of their work and their influence on both individual lives and collective society. 3 This dissertation examines and documents the life and career of one Toronto dance teacher: Gladys Forrester (1914 - 1998). The research focuses on the local dance teaching community of Toronto in the mid-twentieth century, examining regional dynamics that intersect with theories of nationalism, cultural memory and dance pedagogy. The 1960s dance scene, which then rolled into the 70s, was an active time in Toronto for young dance students and dancers such as myself. Opportunities for learning and performing were abundant and, from my perspective, there seemed to be a vast network of students, teachers and opportunities to perform both onstage and in television while training to be a professional dancer. In Toronto, The Royal Academy of Dancing (now known as the Royal Academy of Dance and henceforth, RAD) and the Canadian Dance Teachers’ Association (henceforth, CDTA) offered dance workshops and classes for students, where I attended ballet class taught by famous dancers and teachers from the ballet world, such as Alexandra Danilova and Violette Verdy. At the time, both celebrities worked with Balanchine at the School of American Ballet and the New York City Ballet Company respectively. Summer schools for dance education were located in holiday locations such as Jackson’s Point, Lake Simcoe (Lakeview Summer School of Dance), Northern Ontario (Elliot Lake Centre for the Arts) and my personal favorite location: Banff in the Rocky Mountains in Western Canada. Attending the Banff School of Fine Arts, a University of Alberta affiliate, at the ages of twelve and thirteen (1967-1968) was a very exciting, memorable and transformational learning experience for me, as a very young dance student. I met arts 4 students from across North America, which opened my eyes to cultural differences and diversity in the dance and performing arts worlds since aspiring visual artists, musicians, and vocalists lived and studied along-side aspiring dancers. International professional teachers added to the wonderful six-week summer idyll. Television shows such as Razzle Dazzle and The Tommy Hunter Show employed young dancers and dance students and the Royal Alexandra Theatre offered summer stock musicals and shows which provided another means through which
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