■ I Montreal School Toronto School (514) 849-6071 (416) 862-7114 1231 St. Catherine St. W. 207 Adelaide St. E. Montreal, P.Q. H3G 1PS Toronto, Ontario MSA 1MS Sept. 7-Dec. 23 Sept 7-Dec. 20 15 weeks, 6 days per week 15 weeks, 7 days per week Jazz Jazz Ballet Ballet Musical Theatre Jazz Ballet Voice Musical Theatre Tap Voice Mime Choreographic Workshop Professional Training Broadway Style Program-Auditions Sept. 16 Professional Training Program-Auditions Sept. 1 (Scholarships available) a ■ azz de montreal Issue Number 33 Fall 1982 Automne

M ichael Crabb FEATURES Editor I Redacteur en chef Urban and Formolo H o ll y Small 2 Assistant Editor I Redactrice adiointe The Search for a Union of Man and Nature JUDITH POPIEL Jack C unningham Advertising Representative! Publicite Regina Modern Dance Works 5 The Rise and Fall of a Prairie Dream Dreadnaught DENISE BALL Design / Conception graphique

Published quarterl y by Dance in Canada Associa ti on (a non­ En Forme! 8 profir orga nization, registration #00221 -22-23), 100 Rich­ mond Sr. East, Toronto, Ont. MSC 2P9. (416) 368-4793 Condition physique et expression artistique Peggy Macl eod, Managing Director. The views expressed in JEAN-FRAN<;:O IS POIRIER this pu bl icar ion are nor necessar il y rhose of Dance in Canada Associati on. All righrs reserved. Copyrighr c. ] 982 b)' rhe Dance in Canada Association. Subscriptions: $10/ycar; S18/ rwo rears; $15 insrirurions. Ourside Canada add $3.00. Back issu~s are available in microfilm from Micromed ia Dancewear in the Eighties 11 Lr d., 144 Front Sr. \Xlesr, Toronto, Om. M5J 2L7. Li mi ted copies of back iss ues arc available at $3.50 each from rhc cdi­ Fashion, Function and Form rori al office. Send change of address, subscription orders, DEIRDRE KELLY back issue orders and undeli verable copies to Dance in Can­ ada1 100 Richmond St. East, Toronro, Onr. MSC 2P9. Printed in Br ampton, Ontario b)' Charters Publishing Co., Ltd . Second class mail registration #03874. Rerurn postage guaranteed. ISSN 0317-9737. Photo-Gallery: Melodie Garbish 14 Unsol ici ted man uscripts ca nn ot be returned unless accom­ panied by a stamped, self-addressed envelope. Dance in Can­ ada pub lishes in official la nguage of o ri gin . Dance to the Dollar 16 Specia l thanks to The Canada Council and The Ontario Minisrry of Ci tizensh ip and Culture. The New Patrons of Dance PAULA CITRON Publ ication rrimestriel le de I' Association Danse au Canada organisation a bur non lucrarif, numCro d 'enrcgisrrcmcnr : 002221-22-23), 100 Richmond Sr. Easr, Toronto, Ont. MSC 2P9. Direcrrice administrative: Peggy Macl eod. Les opi ni ons DEPARTMENTS exprimCCs dans cerre revue ne sonr pas ni:cessa iremenr celles de ]'Associa ti on Danse au Canada. Tous droirs rCservCs. Copyright c: 1982, Associati!=>n Danse au Canada. Abonne­ menrs: un an: $10, deux ans: $18, in stituti ons: $15. OBITUARY 19 NOTICEBOARD 36 Erranger: aiourer $3. Pour obrcnir d'anciens numeros sur microfilm , s'adresser 3: M ic romedia Ltd., 144 Front Sr. \'ves t, Toronto, Ont. M5J2L7. Un nombre limirC d'anciens IN REVIEW 20 LETTERS TO 43 nu mc'.:ros sonr disponibles au bureau de la rC dacr ion ,\ $3.50 le numC:ro. Ad resser vos changemenr d'adresse, demande THE EDITOR d'abonnemenr, commande d'anciens num fros er rous num C­ BOOK BEAT 32 ros non liv rCs 3 Danse au Ca nada, 100 Ri chmond Sr. Ea sr, Toronto, Onr. M5C 2P9. lmpri rnt' 3 Bra mpton, Ontari o par Charter; Publishi ng Co., Le d. N° d'enregisrremenr de cour­ rier de seconde classe: 03874. Frais de rerour garanris. ISSN 03 I 7-9737. COVER CREDITS Les manusc rirs ne seront pas rerournCs sauf s'ils onr Cr& com­ mandl-s Oll s'i ls son r accompagnl-s d'une envd oppe adresst'e er Keith Urban and Maria Formolo in Frank Richards, p. 2, 3, 4; Gustin, p. 5; affranch ic. Danse au Canada pub lie les articles dans \cur langue d'origine. Urban's Renaissance. Photo by Frank drawing by Leslie Fairfield, p. 11; Helen Remerciemenrs au Conseil des A,rs du Canada er au Minis­ Richards. Macdonald, p. 13, 21 , 36, 37; Action the des Affaires civiques et culturelles de ['Ontario. Photographs, p. 18; Robert Etcheverry, p. 20; David Cooper, p. 22; Kathleen Watt, p. 30: Lesley E. Spratt, p. 34, 36; CANADA Judith Popiel Urban and For1nolo The Search for a Union ofManandNature

Keith Urban et Maria Formolo viennent de fonder une nouvelle companie a Edmon­ ton. Ils ant he co-directeurs artistiques de Dance Works a Regina de 1979 jusqu 'au printemps dernier et Maria etait membre de la compagnie depuis 1974. Leur propre evolution artistique, leur vue particuliere de la nature et leur besoin d 'integrer I 'heri­ tage culture! canadien a leurs oeuvres, leur ant montre !es Ii mites d'une ville comme Regina 01,1 ifs se sentaient trap a I 'etroit. Avec leur nouvelle compagnie, ' Urban and Formolo Dance', leurs intentions sont d 'explorer leur vision plus librement, de s 'attirer un public nouveau et receptif et d'inviter d'autres danseurs ase grouper a eux pqur former une compagnie de huit danseurs. Urban et Formolo ant rq:u une formation artistique autre qu 'en danse, mais ifs parta?,ent une vision idealiste de ce que la danse peut exprimer. Ils croient au desir de I 'etre de se depasser et de percevoir son potentiel.

Nature is a revelation of God Art a revelat ion of man. HENR\' W'A DW'ORTH

An artist reveals himself to the world only through dying from within his old milieu while simultaneously awakening to a new frontier. Edmonton is not exactl y a fron­ tier. Nonetheless, two of Canada's most remarkable artists have chosen it as the birthplace of their new company - Urban and Formolo Dance. Leaving behind the solitude of the prairie winds in Regina, Keith Christopher Urban and Maria Angela Formolo can only determine through time where the frontiers of this new company will lead Maria Formolo in Wind them. Until last spring, Formolo and Urban enveloped them - a magic chrysa lis, pre­ style and progress ive philosophy of dance were co-a rtistic directors of (Regina Mod­ paring them for a new life. In these final and life. ern ) Dance Works. Formolo had been with Regina years their work moved forward as A chrysalis, however, needs an hospita­ the company since 1974 and Urban joined did their own technical expertise as ble resting pl ace if what it contains is to her in 1979. As they look back on this dancers - under the instruction of ball_et emerge freely. Regina, for a variety of period in their lives, it would seem as if a master Petre Bodeur. They created many complex reasons, finally turned out to be web of ideals and pe~ceptions had slowly new dances and formed their own artistic too restrictive. They needed somewhere DANSE AU CANADA 3 .:: · ·erent to take flight. Having decided to leave Regina and nth Edmonton chosen as a new home, · e two dancers sought the help of Ernst and Carole Eder in planning a new com­ ;;any. The Eders had already run their own company, Tournesol - and the magazine . ,i~er/ace - and had the necessary experi­ e:xe and sensitivity to be able to serve · eirh and Maria's needs.

· We have a vision and a purpose'

c'i;'i rh Regina behind them, they looked to ·he fu ture but they did not jettison what nad al ready been accomplished and took ,·i rh them a clear vision of what they ,·anted to do as dance artists. ' \Xie are not simply entertainers', says L"rban, 'we have a vision and a purpose. The rime is right. We must now begin to manifest this vision and bring that purpose nro our work as well'. Both Keith and Maria were born in Chicago but have lived in Canada for the asr 15 years. Much of their professional aining and artistic recognition has occurred here. They love Canada, its heri­ ·age and land, and have responded to it in • eir creative work, something that will ::i::rrainly continue in Edmonton. Underlying their whole approach is a hilosophical attitude to life and the ·rnrld in which it is lived. They believe a sionately in the essential unity of Man and ature. 'When you depict to a human i:ieing what he really is or what he could :isp ire to be within the context of a dance', ex-pl ains Formolo, 'you remind him of his ·-ue nature. He identifies with this nature Keirh Urban in Ages because it is innate to him. It is his heri­ like being trapped in an incubator - feeling Keith and Maria have no false illusions age. Nature and man are not separate nor ready to move onto the next stage of devel­ about Edmonton. They realize that are we as artists separate from the quest to opment but not being able to find the growth can and must be slow and careful. be more human. My life and my work are right environment for it. Urban explains: They do not intend to over-reach them­ a unit. As I develop in my attitude the 'Your audience has to find you and you selves and will only move towards build­ work also develops.' them. It has to be an organic, honest pro­ ing their ideal company of eight dancers as Because, in Regina, Dance Works' cess for both the audience and the artist'. it becomes economically feasible to do so. board of directors saw fit to dictate artistic Edmonton manager Ernst Eder will see For the present, they will begin offering ol icy to Keith and Maria within an iso­ that the devdopment of a new audience classes and hope that they can share the lated context their struggle to develop and takes this principle into full account. And, work with a few dancers. A fal l tour is orow as people and as artists was frus- ·while the new company will tour a good planned and a residency w ith Dansepar­ rated. They tried to produce dances that deal, firm roots will also be put down into tout is also scheduled. Urban and Formolo woul d appeal to a broader audience but the soil of a nourishing environment - an will create two works, each for eight people in Regina were often unresponsive important process both artistically and dancers. o their effort. While eight new works economically. As artists - dancers and choreographer were created during the final season it was In order to generate new works a good - their inspiration comes from many var­ not until Keith and Maria's farewell per- home audience is needed. Edmonton has ied sources. Each has an interesting non­ ormances in Toronto that these works to come to know them and they Edmon­ dance background which has, nevertheless, became a celebration of life and art. ton. It's a process of familiarization and proved fruitful. Formolo's original train­ mutual assimilation. The city already has ing was in the visual arts and drama - she Putting down roots a ballet company and a modern dance took a degree from Rosary College, Illi­ troupe and, therefore, an audience pre­ nois. Her wood block prints were exhi­ In Regina, there was no stimulus. It was pared for dance. bited several times in Chicago. Urban stud- ied photography, using the camera to seek the harmony of form existing in the out­ side world. The two come together in their Keith Urban in Maria Fo rmolo's Elements love of nature - a shared sensibility which the ethnological backgrounds of many hu­ imentary elements of the integration of lends a distinct character to their work in man traditions, has made a great impres­ technique and awareness expressed in the dance. Formolo admits she is not a city sion on both Urban and Formolo. movements of both dancer-choreographers. person at heart despite the important exper­ His influence and concern for tradi­ In a flash of time, you are whisked ience of living, working and studying in tional values - especially those of Cana­ through a subliminal world of deep-seated New York and Montreal. It is in unspoiled da's multi-cultural community - has memory. The dances take you to places nature that she finds inspiration and she influenced Keith and Maria's own work. within your heart, to historical memories relates it to her other artistic concerns and They want it to express more of the true of your humanity. These dances are rhe preferences. nature of dance and its roots in human first externalized sparks of a philosophical In Winterpiece , for example, (which culture. attitude firml y held by Keith and Maria. won Formolo the 1979 Chalmers Award) Having left Regina and Petre Bodeur, Edmonton is the new beginning where she responds to the imagery of Ukrainian the two have become each other's teacher they will be further explored. Both painter William Kurelek's A Prairie Boy's but, while technique is important to them, embrace the challenge of a new beginning. Winter. There is a narrated text by Eliza­ its larger purpose is at the forefront of 'I develop slowly rather than in leaps beth Raum and then the choreographer's their minds. As Formolo explains, 'I and bounds', admits Formolo. 'There are own evocations in movement. Winterpiece believe form is important but I would like always a few strands nourish in g and stabil­ touches the heart. It could be called confi­ to see myself go beyond the form, stimu­ izing m y development. Eventually I hope gurative in that it reveals what man could lated by an incredible innovation of steps for a natural synthesis of all the strands.' be. So much modern dance today is cere­ so far past technique that I am not aware Urban, on the other hand, is motivated by bral - only illustrative of Man's limita­ of how the steps became integrated. If this a visionary sense of the order he sees tions. 'Dance', says Formolo, 'has some­ happened, I would become the channel for around him. He views it as it is and also as thing to contribute to the human being in the creative energies flowing through me'. it could be. ' Not only ca n yo u see what the a very positive way. I am pleased when I After nine years at Dance Works as human being is but it is important to real­ can touch someone else's soul or give them artistic director, teacher, dancer and cho­ ize what he could become. Or, to take it a feeling of joy. Even if I only arouse their reographer, Formolo feels she has only fin­ one step further, one should see what the curiousity for dance I have still accom­ ished the groundwork in her development world could become.' plished at least part of my purpose'. as an artist. She is just beginning to get Keith Urban and Maria Formolo share good at what she is doing. The new com­ the view that human beings cannot possi­ Integrating a cultural heritage pany will continue i rs school programs, bl y remain the sa me. The world, they feel , working with non-dancers and also with has become stagnant, forgetful of its pos­ It is through tradition that the human be­ skaters. Formolo admires and fee ls a sibilities for human growth. Through thei r ing synthes izes his nature so that he may strong connection with the work of Toller work as dance artists they hope to show become more of a human being. Tradi­ Cranston. He too is a visual artist who how we may all share in a fuller sense of tional art always reflects the specific cul­ combines many elements of the various the wholeness of life and, in Edmonron, tural heritage of man as he was in a parti­ disciplines underlying his work. they believe they w ill have the opportunirv cular time. Petre Bodeut, a Romanian-born In Ages, choreographed by Formolo, ro do this. With the chrysalis shed they are baller master, steeped in the knowledge of and Renaissance (Urban) one sees rhe rud- ready ro take fli ght. DANSE AU CANADA 5 Denise Ball egina Modern Dance Worlcs The Rise and Fall of a Prairie Dream

:..orsque Maria Formolo et Keith Urban ,u decide ii ya plusieurs mois de fonder • •1e nouvelle compagnie a Edmonton, Re­ _ma (et la Saskatchewan) perdait son uni­ :1e compagnie de danse professionnelle . . ·s etaient /es seuls membres de Dance ·orks se produisant sur scene. Dance orks remonte a la fin des annees 60 rsque Marianne Livant introduisait pour .i premiere fois la danse contemporaine .;..ms cette province. Maria Formolo s 'est m te a Marianne Livant en 197 3 et Re­ _ma Modern Dance Workshop devenait . 1e compagnie de danse professionel le. ~ .m s ses debuts, la compagnie etait geree e,; cooperative par tous ses membres et

C ·est attiree ztne renomee nationale. Elle a .2r la suite succombe aux effets d 'une suite ..; 'erreurs administratives et artistiques. La compagnie grandissait trap rapidement, ,;.ei•enait instable financierement et perdait : 11 public. Ce sont /es restrictions que le : Jllseil d'administration de Dance Works : oulait imposer dans ses politiques qui ont :inalement fJOusse Urban et Formolo a : 'installer a Edmonton. School children mimi c Parrick Hall's mo ve menr from Petera11d the Wolf: December 1976.

Eigh t years ago, a group of dancers got has vanished. The last remaining dancers, artist-run co-operative was taken over, dur­ :ogether in Regina with the notion of co-artisti c directors Maria Formolo and ing a period of crisis, by a top-heavy man­ · tarting a professional modern dance com­ Keith Urban, left Regina last spring to set agement. Eventually the board of directors pany. They were an energetic bunch, burst­ up a new company in Edmonton. assumed control and ultimately dictated ng with ideas and fired w ith an almost_ Dance Works' artistic policy. e,·angelical zeal ro bring modern dance to Textbook blunders T he performance ensemble of later years : he prairies. They called themselves the had its roots in an organization known as Regina Modern Dance Workshop and, The story behind the coll apse of this inno­ Regina Modern Dance Workshop, a non­ d uring the troupe's lifespan, the dancers vative ensemble is fi ll ed with textbook professional community performance es tabli shed a strong national profile and examples of administrative and artistic group with an educational focus, founded acquired the trappings of a fully profes- blunders. Dance Works grew too big, too in 1970 by American-trained dancer ional company and community school. fast, lost control of its financial base and Marianne Livant. In 1973, Maria For­ Today, all that's left of the original ultimately lost touch w ith its audience. molo, a longtime member of Le Groupe de d ream is a four-member board of directors Furthermore, a radical change in the na­ la Place Royale (then based in Monrreal), and a school operating under the Dance ture of the relationship between the admin­ moved to Regina w ith Susan Jane Arnold, \'fo rks nami::. The performing ensemble, istrati ve and artistic sides of the organi- · a sculptor and designer who had taken a reduced from six to two dancers in 1980 zation resu lted in chaos. What began as an job at the local university. The three 6 DANCE I CANADA Offre Speciale*NouveauxAbon women got together and decided a professional company in 1974 t dance workshop as its base. 'Marianne was in charge of th< tional stuff', says Formolo. 'She, OUI 25%off YE the company ro retain that comrr Je desire recevoir pendant un an le magazine Danse au Canada (4 numeros) au educational involvement. I had n; special':• de $7.50 pour les nouveaux abonnes (reduction de 25% sur le prix ordi­ aspirations and really wanted to i professional performance side de, naire). Ci-joint mon cheque ou mandat a l'ordre de Danse au Canada. Susan Jane did the grant applicar Mon nom Adresse masterminded the administration Ville Prov. Code During the early years, seven d everything - teaching, choreogra1 ministration, tour booking, perfc Envoyez a mon ami(e) un abonnement d'un an a Danse au Canada au prix spe miscellaneous paper work. 'Wen de $7.50 pour les nouveaux abonnes. didn't have a hierarchical structu: Norn demon ami(e) Saskatchewan-born Connie Mok Adresse nikowski, who joined the compa Ville Prov. Code 1975. 'We were a rag-taggle grou right. Technically, we were prett) sistent, but we had so much eneq $ .•••.... Montant total inclus. Ajoutez $3.00 par abonnement pour l'etranger. enthusiasm it didn't really seem t Nous regrettons de ne pouvoir faire aucun envoi contrc: remboursement pour cette offre speciale aux nouv abonnes. Toure commande doit etre accompagnee de son reglement. Adressez votre cheque ou mandat And when we went on tour, we g a Danse au Canada, 100 Richmond St. East, Toronto, Ont. MSC 2P9. ''·Offre valable jusqu'au 31 octobre 1 response!' The repertoire had a bit of everything been replaced by new artists. Then Susan - pieces on waiting at a bus depot, a Jane Arnold announced her resignation dance lamenting the extinction of whales, staring rhar after five years she needed a works based on themes such as housing change. Along with her departure came a shortages and the oppression of the work­ series of administrative changes. By this ing class. The 'company style' was eclectic, time, a board of directors representing the David Weller as Morher Goose : 1978. reflecting the concerns, abilities and aes­ community was in place and the dancers thetics of each dancer/ choreographer. And ed by RMDW's light-hearted look at had little to do with the day-ro-day opera­ while the houses weren't always full , the Mother Goose nursery rhymes. Everyone tions of RMD W. The board hired Ray­ company's audience was gradually grow­ in the company got a shot at choreograph­ mond Koehler, an arts administrator who ing ar home and beyond. ing bits of it. And while the immediate had worked with the Alberta Ballet Com­ success was important to the company, pany, to take Arnold's pl ace. The board Away from the grassroots Goose was also considered the beginning also hired five new full-time administra­ of a three-year artistic workplan designed tive employees. Keith Urban, a respected The first cracks in the ideal community of to develop and solidify an audience for former member of Dancemakers and dancers appeared in the fall of 1976. Susan modern dance in Saskatchewan. Toronto Dance Theatre, also joined the Jane Arnold was heading a campaign to 'Up until then, everyone was wanting to company to serve with Formolo as co­ purchase a building in downtown Regina choreograph and we were getting bits ·and artistic director. and turn it into a studio/ classroom/ per­ pieces of very esoteric work', recalls For­ formance space. Livant, who objected to molo. 'We sat down and said we have to On the brink of bankruptcy the idea, was frustrated with the direction do some audience development. We have in which the company was moving - to do something that's visually exciting Koehler began the 1979-80 season by talk­ away from the grassroots, community­ and nor all that abstract, something that ing about the importance of marketing to oriented approach of the original work­ will appeal to mass audiences and rake the company through the next fi ve shop toward a pre-occupation with profes­ professionals.' years. But within a few months, promo­ sional activity - and submitted her resig­ tion became a minor concern; bankruptcy nation that December. Educating an audience now became a major threat. After Livant's departure, it seemed The financial crisis which had been RMDW was ready to pursue its 'national The company decided to introduce its gradually building surfaced in the Sep­ aspiration'. At home, rhe 1977-78 season audience gradually, over a period of three tember of 1979, just before Dance Works opened with the company settled in its years, ro 'hard core modern'. The produc­ was about to leave on an Alberta tour new facilities. RMDW also expanded its tion mounted during the second year of with Winterpiece and the Regina Sym­ program to include sponsorship of touring the plan, Vaudeville, was designed to con­ phony Orchestra. RMDW had committed companies, an enlarged school and its first tain the dance theatre elements of Goose all its cash to the orchestra and didn't have full-length production, Goose. as well as to introduce early modern dance enough to pay the dancers. What Koehler With the help of Humphrey and the elements as found, for example, in such described as a 'severe cash-flow crunch' Dumptrucks, a popular Saskatchewan artists as Loie Fuller. The last installment resulted. Several board members came to bluegrass band, Goose turned out to be a in rhe three-year plan was Winterpiece the rescue with short-term loans and critical and popular hit. For the first time Suite, a lyrical work choreographed by serious budget curs were made. since 1974, the houses were brimming ar Forrnolo and based on the paintings of By January, ir appeared even more dras­ home and on tour with audiences delight- William Kurelek. These works were all tic action would need to be taken. The 6 DANCE IN CANADA women got together and decided to launch presented as Christmas family specials and a professional company in 1974 using the drew Dance Works' biggest audiences. dance workshop as its base. The company, however, was never able 'Marianne was in charge of the educa­ to lure the same audience back for the tional stuff', says Formolo. 'She wanted more avant-garde choreographies offered the company to retain that community, each spring. But if audiences didn't educational involvement. I had national develop quite as the organization had aspirations and really wanted to see the hoped, the company continued to grow professional performance side develop. artistically and critics were more and more Susan Jane did the grant applications and enthusiastic. The process was undoubtedly masterminded the administration.' aided by t'he presence of guest resident During the early years, seven dancers did artists who were invited to work with the everything - teaching, choreography, ad­ performers and students in the communic,· ministration, tour booking, performing, school. Whatever the reason, the com­ miscellaneous paper work. 'We really pany's artistic evolution was most evident didn't have a hierarchical structure', recalls in Winterpiece, the last of the full com­ Saskatchewan-born Connie Moker Wer­ pany's major productions and arguably the nikowski, who joined the company in most artistically satisfying of Dance 1975. ' We were a rag-taggle group all Works' famil y programs. Winterpiece, right. Technically, we were pretty incon­ however, also marked the beginning of the sistent, but we had so much energy and end of the company. enthusiasm it didn't really seem to matter. Some significant changes had been put And when we went on tour, we got a great into motion the year before. Several of the response!' original dancers had moved on and had The repertoire had a bit of everything been replaced by new artists. Then Susan - pieces on waiting at a bus depot, a Jane Arnold announced her resignation dance lamenting the extinction of whales, stating that after fi ve yea rs she needed a works based on themes such as housing change. Along with her departure came a shortages and the oppression of the work­ series of administrative changes. By this ing class. The 'company style' was eclectic, time, a board of directors representing the Davi d Weller as Mother Goose: 1978. reflecting the concerns, abilities and aes­ community was in place and the dancers thetics of each dancer/choreographer. And ed by RMDW's light-hearted look at had little to do wirh the day-to-day opera­ while the houses weren't always full, the Mother Goose nursery rhymes. Everyone tions of RMDW. The board hired Ray­ company's audience was gradually grow­ in the company got a shot at choreograph­ mond Koehler, an arts administrator who ing at home and beyond. ing bits of it. And while the immediate had worked wirh the Alberta Ballet Com­ success was important to the company, pany, to take Arnold's place. The board Away from the grassroots Goose was also considered the beginning also hired five new full-time administra­ of a three-year artistic workplan designed tive employees. Keith Urban, a respected The first cracks in the ideal community of to develop and solidify an audience for former member of Dancemakers and dancers appeared in the fall of 1976. Susan modern dance in Saskatchewan. Toronto Dance Theatre, also joined the Jane Arnold was heading a compaign to 'Up until then, everyone was wanting to company to serve with Formolo as co­ purchase a building in downtown Regina choreograph and we were getting bits ·and artistic director. and turn it into a studio/classroom/per­ pieces of very esoteric work', recalls For­ formance space. Livant, who objected to molo. 'We sat down and said we have to On the brink of bankruptcy the idea, was frustrated with the direction do some audience development. We have in which the company was moving - to do something chat's visually exciting Koehler began rhe 1979-80 season by talk­ away from the grassroots, community­ and not all that abstract, so mething that ing about the importance of marketing to oriented approach of the original work­ will appeal to mass a udiences and rake the company through rhe nexr five shop toward a pre-occupation with profes­ professionals.' years. But within a few months, promo­ sional activity - and submitted her resig­ tion became a minor concern; bankruptcy nation that December. Educating an audience now became a major threat. After Livant's departure, it seemed The financial crisis which had been RMDW was ready to pursue its ' national The company decided to introduce its gradually building surfaced in rhe Sep­ aspiration'. At home, the 1977-78 season audience gradually, over a period of three tember of 1979, just before Dance Works opened with the company settled in its years, to 'hard core modern'. The produc­ was abour to leave on an Alberta tour new facilities. RMDW also expanded its tion mounted during the second year of with Winterpiece and rhe Regina Sym­ program to include sponsorship of touring the plan, Vaudeville, was designed to con­ phony Orchestra. RMDW had committed companies, an enlarged school and its first rain rhe dance theatre elements of Goose all irs cash to the orchestra and didn' t have full-length production, Goose. as well as to introduce early modern dance enough to pay the dancers. What Koehler With the help of Humphrey and the elements as found, for example, in such described as a 'severe cash-flow crunch' Dumptrucks, a popular Saskatchewan arrisrs as Loie Fuller. The last installment resulted. Several board members came to bluegrass band, Goose turned out to be a in the three-yea r plan was Winterpiece the rescue with short-term loans and critical and popular hie. For the first time Suite, a lyr ical work choreographed by serious budget cuts were made. since 1974, the houses were brimming at Formolo and based o n the paintings of By January, it appeared even more dras­ home and on tour with audiences delight- William Kurelek. These works were all tic action would need to be taken. The roductory Subscription DANSE AU CANADA 7 S2S%off0UI a year of Dance in Canada (4 issues) at the Special Introductory Offer':• of 25% off the regular price. My cheque or money order payable to Dance in s enclosed. Address

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Total amount enclosed. Outside Canada, please add $3.00 per subscription. at we cannot bill you for this special introductory offer. All orders must be accompanied by payment. rnur cheque or money order to Dance in Canada, 100 Richmond St. East, Toronto, Ont. MSC 2P9. res 31 October 1982.

ti LCIIL Sl d llUd lU or p - ·. Bu rno one was doing it. Given lar' works and 25 per cent avant-garde or - ·,e were facing, we knew the only experimental w orks. While the rationale - : :o do was cur back. We didn't have a for the decision wasn' t clear, the board :e. stared that any deviation from the guide­ lines had to recei ve board approval. -o ' company The duo acquiesced to the demands and did what was required during their final · - ~he crisis apparently beh ind them, season. In February, tw o months after - lo and Urban became ' the company' their fin al fa mil y production w hich fea­ _-- •mg under a series of managers of tured students from the company school, - ~o ab ility and a board whose mem­ Formolo and Urban announced thev were p ,,·as less than stable. For two sea­ lealving for Edmonton to start a new : e duo choreographed, performed company. Thev simply couldn't contiue to . and solo work in Regin a (the build­ adhere to the board's stringent restrictions a retained through a lease-back on touring and repertoire. _ement until June of 1982) and on What remains today is a four-member -. ffered residencies our-of-province board of directors attempting to maintain -aught in the company sch ool. The the sch ool operation and dreaming of re­ :. ,·as exhausting and w hile the grant- establishing dance performances, through - 1,,encies continued their support to sponsorship or the rebirth of the company, - m degrees (the Canada Council was in Regina . The latter is regarded as highl y rant to suspend project funding of the unlikel y. Profess ional modem dance is profe ssional dance company in the therefore dormant in Saskatchewan. mce), it never seemed fin anci all y feas­ Whether a profess ional troupe will re­ - :: ro re-establish a larger performance emerge over the next fe w yea rs is debata­ mble. ble. Some feel they've been stung by the ;he financial crisis d id little to help the Dance Works experience. Others see it as a panv's profile in Saskatchewan. noble experiment that went awry. • ·her di d the identity change w hen As one former company member ob­ ·-, e Works became a duo. A full com­ served, ' 1 don' t know if you can have a --~··. ir seems, is eas ier to sell than solo- modern dance company in Sas katchewan. . Fu rthermore, Formolo and Urban saw I don't know how yo u can make it a popu­ r work as flowing from two streams - lar art form in a province like this. On the ·ract, experimental work exploring · other hand, it's onl y been around here for ic themes and the popular pieces with 10 vears. That's a short rime to build a - ,·biz elements. o matter what the tradition. M av be it just needs more time - -erial the duo was performing, how- and more effort. ' . audiences for both styles simply ndled in Saskatchewan during the fin al Denise Ball is arts re porter (or T he Leader­ -,on . Formo lo and Urban blamed the Post in ReRin a. DANSE AU CANADA 7 ~.:,any faced a deficit of approximately poor houses on a lack of imaginative pub­ . 00 on an operating budget of about licity and administrative support. Others - .:>0 0. The board tried fundraising to saw it as the cumulative effects of continu­ - ri ng the finances back into some ing artistic and adminisrrarive upheavals - .: of equilibrium. But in February, the combined with the lack of a committed, olow to the performance company educated following. · ruck. The board agreed to the artis­ rectors' suggestion that four of the six A virtual ultimatum -.:e be eliminated from the payroll at e. d of the season. Three months later, Jusr before the beginning of the 1981-82 - ·e Works sold its building and elimi­ season, rhe board, which considered the ·ed the accumulated deficit. By then, product to be rhe real problem, decided to · of the administrative employees were ger rough. It produced a policy report our­ -e and Koehler left a few months later. lining what it perceived to be the com­ -:- e dancers, as well as some of the pany's failings and possible solutions. The -,:iany's faithful followers, were natu- report said thar audiences were roo small; upset w ith the decision and commun­ fundraising efforts had been unsuccessful ·esentment ran high. and thar rhe performers' image was at :-. fo r Keith and me, we didn't know rimes 'distasteful' ro audiences in western ·; was going on', Formolo says. ' We Canada. These problems, said the board, .: e go of the administration and said could be overcome if rhe dancers agreed ro . they' re the experts. They must know perform 75 per cent of their time in Sas­ ,iu in ess. But we kept thinking they katchewan and 25 per cent elsewhere. The _ e out there selling our shows on tour content of each performance was to be · :h was the only way for us to make made up of 75 per cent standard or 'popu­ -e,·. But no one was doing ir. Given lar' works and 25 per cent avant-garde or :: we were facing, we knew rhe onl y experimental works. While the rationale - - to do was cut back. We didn't have a for rhe decision wasn't clear, rhe board (:e.' stated rhar any deviation from rhe guide­ lines had to receive board approval. T ,·o s company The duo acquiesced ro the demands and did what was required during their final · rh e crisis apparently behind rhem, season. In February, two months after --r-;iolo and Urban became 'rhe company' their final famil y production which fea­ Taring under a series of managers of tured students from the company school, - ng ability and a board whose mem- Formolo and Urban announced rhev were . ·,ip was less rhan stable. For rwo sea- lealving for Edmonton ro start a new - rhe duo choreographed, performed company. They simply couldn't contiue to : and so lo work in Regina (the build­ adhere to rhe board's stringent restrictions - · ·a re tained through a lease-back on touring and repertoire. -·rioemenr until June of 1982) and on Whar remains today is a four-member -. offered residencies our-of-province board of directors attempting ro maintain .:: ·augh t in rhe company school. The the school operation and dreaming of re­ :e was exhausting and while rhe grant­ establishing dance performances, through - agencies conrinued their support ro sponsorship or the rebirth of the company, -- ing degrees (rhe Canada Council was in Regina. The latter is regarded as highly • _ u ra nt ro suspend project funding of rhe unlikely. Professional modern dance is profess ional dance company in rhe therefore dormant in Saskatchewan. ·ince ), ir never seemed financiall y feas- Whether a professional troupe will re­ - e to re-establish a larger performance emerge over rhe next few years is debata­ -emble. ble. Some feel they've been stung by the ;he financial cri sis did Ii rrle to help the Dance Works experience. Others see it as a . pany's profile in Saskatchewan. ,ioble experiment rhat went awry . ·either did the identity change when As one former company member ob­ ance \X/o rks became a duo. A full com­ served, 'I don't know if yo u can have a - ny. ir seems, is easier to sell than solo- modern dance company in Saskatchewan. ·,. Fu rthermore, Formolo and Urban saw I don't know how you can make it a popu­ ·•eir work as flowing from two streams - lar arr form in a province like this. On the - tract, experimental work exploring other hand, it's only been around here for ~ ,mic themes and the popular pieces with 10 years. That's a short time ro build a -:>wbiz elements. No matter what the rradirion. Maybe it just needs more rime reri al the duo was performing, how- and more effort.' - er. audiences for both styles simply - , in dled in Saskatchewan during rhe final Denise Ball is arts reporter for The Leader­ a ans. Formolo and Urban blamed the Posr i11 ReRin a. 8 DANCE I CANADA J ean-Fran~ois Poirier EnForme! Condition physique et expression• art1st1que • •

Dancers, though artists first are also ath­ letes and must be in a well-balanced physi­ cal condition. Too often, however, conven­ tional dance training overlooks this and concentrates on specific, isolated areas of conditioning. Muscular strength and car­ diovascular aerobic capacity are two phys­ ical qualities which need particular atten­ tion in dancers. Extra-curricular weight training and general endurance training could help remedy the situation. The dancer would thus acquire a body better suited and conditioned for the perfor­ mance of a greater variety of movements.

La formation technique d'un danseur constitue !'aspect essentiel de son evolu­ tion artistique. Son emphase est consram­ ment axee sur !'acquisition d 'une gesruell e plus variee et complexe. On semble oublier David Roxander, so liste au Ballet national du Canada, perfectionne sa condition physique. II a install e une petite salle d'exercices chez Jui. cependant que route performance est egale­ ment le refler des qualires arhleriques d'un physique deficiente. Une limitation phy­ force est la qualire que possede un muscle individu. Beaucoup-peuvent amplement sique previenr ainsi la relisarion inregrale pour deplacer une charge rres lourde. L'en­ discurer des parricularires er des subrilires d'une commande nerveuse centrale. Un durance permer par contre d'effecruer un des differents styles de danse, mais peu con­ certain ajusrement au niveau des qualites meme mouvement localise de nombreuses naissent aussi bien !es merhodes de de­ musculaires et organiques amene souvent fois. veloppement de la condition physique. des modifications tres significatives. La posture et le placement du bassin. La posi tion du bass in influence l'ali gnement A vantages La condition physique du tronc et des segments. La transmission des impulsions musculaires qui originent Une bonne condition phys ique contri- La condition physique represente un con­ du sol peut se dissiper si cet alignement fair bue de fai;on directe er indirecte a optimi­ cept global du bi Ian foncrionnel du corps defaur. ser le porentiel du danseur. Elle facilire humain. Elle comprend !es determinants La capacite de relachement et de relaxa­ rout d'abord !'execution purement me­ suivants: tion. Le conrrole de la tension muscula ire canique des mouvements. Les sa urs sont L'efficacite du systeme de transport de est primordial. La regulation de l'anxiere plus eleves , !es portees plus dynamiques. l'oxygene. La capacite aerobie (endurance !ors d'un spectacle, la facilire a derendre un L'amplirude des segments est amelioree er organique) assure la poursuire d'un effort muscle afin de lancer une jam be ou I 'ha­ !es efforts sont soutenus plus longuement. generalise er prolonge de fa i;on econo­ bilere a sollicirer insranranemenr des ener­ Un danse ur en forme est egalement capa­ mique er aisee. L'oxygene passe des pou­ gies intenses puis a !es inhiber le moment ble d'accomplir plus de travail car ii recup­ mons aux muscles, l'oxyde de carbone des suivant sont autant de facreurs associes au ere rapidement. Elle permet finalement, muscles aux poumons. C'esr le 'souffle'! rel achement er a la relaxation. bien que cela paraisse moins evident, Le pourcentage de graisse dans le poids Tous ces determinants affectent la per­ d'aplanir certains problemes d'apprentis­ corporel. La graisse est un fardeau supple­ formance physique, la sante er le bien-erre sage. Les desequilibres OU !es difficulres a mentaire et inutile pour !es muscles si elle d 'une personne. II convienr done de veiller reperer er a encha1ner des sequences chore­ compte pour une trop grande proportion ace que chacun d'entre eux soir srimule a graphiques (deux exemples qui laissent de la masse corporelle. Elle nuir egalement tour de ro le, dans le dessein eventuel de presager un manque de coordinati on ) peu­ a l'estherique. parvenir a Lill equilibre com pier. vent souvenr erre relies a une condition La force et I 'endurance musculaires. La DANSE AU CANADA 9 L'entrainement et la condition forme. 11 faut plut6t se mettre en forme constituent une fraction de 75 a 85 pour pour pratiquer un sport. Des lors, les cent de la charge maxi male atteinte !ors hysique n6tres ajoutent des sessions de course et de . d 'un exercice donne. On peut alors effec­ bicyclette stationnaire a leur preparation. ruer deux OU trois series de six a huit repe­ _ c:-urainement en danse favorise specia- Ceci s'applique aux danseurs. Deux ou titions consecutives. L'entrainement speci­ - .ent !'endurance musculaire, le relache­ rrois seances hebdomadaires de course, de fique est plut6t associe a des exercices dont m musculaire et le placement du bassin. bicyclette, de natation ou de ski nordique la nature se rapproche de cerrains gestes anseur reprend souvent toute une pendant un minimum de 15 minutes de­ techniques precis. Un danseur pourrait par ence d 'exercices afin de pratiquer et de vraient suffire. La frequence cardiaque exemple pratiquer les entrechats rout en -emoriser quelques elements d'un vocabu­ pendant !'effort se situe alors a 150-160 portant une veste lestee. Deux ou trois ser­ . re technique. Ce faisant, les muscles de battements par minute. ies de six a dix repetitions d'un exercice ambes, et a un degre moindre ceux du II faut de la force musculaire pour s'averent suffisantes. La charge ne doit - nc, deviennent progressivement plus maintenir un equil ibre, pour sou lever un toutefois pas etre trop lourde. L'aspect ~urants. La danse est certes, avec la partenaire ou pour sauter. La danse ne cree technique du geste pose a priorite en rout _ :nnastique et le karate, l'activite qui pas !es conditions propices a !'augmenta­ temps. -, te le pl us sur la souplesse et sur le con­ tion de la force maxi male. Pour ceux qui La planification d'un programme de e musculaire. Les danseurs acquierent croient encore que le developpement de la musculation doit proceder du general au :ii des annees une amplitude des mem­ force procure de trop gros muscles, altere specifique. Les exercices generaux sont inferieurs et une re laxation incompa­ la souplesse et incommode la coordina­ sirues pendant la saison morte OU au debut es . Aussi n 'est-ii pas etonnant de cons­ tion, eh bien ils se trompent! L'etablisse­ d'une periode demise en condition. Les :er qu'ils presentent egalement une ment de nouveaux records dans tousles exercices specifiques sont introduits gra­ • .:ellente posture. Un deliement des mus- sports est du a !'attention perpetuelle duellement pour atteindre un sommet • - qui s'attachent au bassinet une qu'on y pone. Les specialistes d'activites quelque peu avant une competition ou un -. .:: erche continuelle de ]'equilibration du aussi techniques que le judo ou aussi epui­ spectacle. .- re de masse (qui depend surtout du santes que la natation et la course de Quant a !'impulsion requise pour les c) ne peuvent que resulter en une pres- moyenne et de longue distance font desor­ bonds (puissance musculaire), on peut la ~ e exemplaire. mais appel a tout un arsenal de moyens travailler a ]'aide d'une multitude d'exer­ :...e danseur serieux surveille son poids. II destines a renforcer les muscles. Les exer­ cices empruntes a l'athletisme. Ceux-ci t qu'un surplus de graisse le ralentit, cices de musculation, la stimulation elec­ requierenr l'emploi d 'une variere d'obsra­ · . .::.uir son endurance et terni t la cl a rte des trique et les drogues anabolisantes, pour ne cles (banes, escaliers, ere. ). Pour de plus ages qu'il projette. Pour ce, ii suit un nommer que ceux-la, sont acruellement les am pies informations, on peur consulter .: me normal, mangeant plus lorsqu'il est prescriptions !es plus en vogue (cerraines l'ouvrage de L. Meuron, Exercices d'ame­ affa ire et moins pendant les periodes sont illegales). Elles visent routes un meme /ioration de I 'impulsion chez /es ieunes, rel ative inactivite. Si quelqu'un desire objectif: !'acquisition de muscles sur­ (S ports; revue beige de I 'education phy­ · ~uire son poids, i I est preferable de le puissants. sique, des sports et de la vie en plein air. · re de maniere tres suivie a raison de .25 Les professeurs de danse pourraient 17•· annee, n" 4, octobre 1974). - kilogramme par semaine. Ainsi le dan­ quanta eux introduire quelques mouve­ La preparation phys ique du danseur, r peut poursuivre un entra1nement sans ments de gymnastique de fac;:on plus sys­ bien qu'elle soir exigeante, n'est pas - _ -emir des faiblesses indues, et les effets tematique (exemples: ' push-ups', 'sit- complete en soi. Elle com pone certaines - habiruellement plus permanents. II est ups', flexions et extensions des jambes lacunes. Les danseurs seraient probable­ _alement recommande de maigrir en de­ avec un partenaire sur le dos). Ou encore ment des artistes plus ha bi les et versa tiles "'e ant plus d'energie au lieu de se priver ils pourraient encourager la participation a s'ils accordaient plus d 'importance a leur ali ments tres nutritifs. On peut bien sur un programme de musculation avec sur­ endurance oq~anique et a leur force musc u­ m e de cote les quantites de 'junk charge, a raison d 'une OU de deux seances laire. Ceci pourrait acriver le processus od' , de sucreries ou d'alcool qui ne sont par semaine. La surcharge sollicite les mus­ d'apprentissage et ainsi contribuer a une e des calories 'vides'. cles de maniere tres intense. Ceux-ci mon­ progression plus satisfaisante. Une bonne trent alors des adaptations phys iologiques condition phys ique ne pourra cependant Endurance et force musculaire remarquablernent rapides. Les delais requis jamais compenser un ma nque d 'expressivi­ pour le developpement de la force sont te et de maitrise techn ique. En effet, la per­ ur rerminer, nous aborderons les deux done ecounes. Le danseur peut ainsi formance phys ique n'est pas le but ulrime ualires les plus negligees qui sont l'endu­ accorder plus de temps a d'autres aspects de la danse, contrairement aux activites ·ance organique er la force musculaire. Les de sa preparation. sporrives plus traditionnelles. Le danseur :1urs de danse font suer, c'esr connu! Mais Un programme de musculation peur cherche plut6r a recreer er a representer des en 'est pas suffisant pour developper l 'en­ prendre deux formes principales: l'entrai­ situations et des evenements propres a sus­ ~.Jrance organique. Les interruptions fre­ nement general et l 'entrainement speci­ citer des sentiments er des emotions. Le uenres er l'inrensite quand meme fique. Un programme general de muscula­ corps et tour es ses possi bi Ii tes ne son t a pres o\·enne du travail accompli ne peuvent tion s'interesse au developpement de tout qu'un mode d'expression, un medium u plus que maintenir ce qui est deja !'ense mble des muscles du corps. Les fle­ dont le danse ur dispose a sa guise. ~quis. Les hockeye urs canadiens l'ont xions de jam bes ou de bras avec poids er pris aux depens des sovietiques et des halteres sont deux exemples d'exercices de Les inthesses pe11ve11t se procurer 1111e bi­ ·.:heques depuis une diza ine d'annees lors developpement general. L'execution de blio?,raphie sur ce suiet en e11voya11t une tournois internarionaux. Les athletes differents exercices pour les jambes, le enueloppe a( franchie et adressee al ell1' 110m i bloc communisre avaient une capacire tronc et les bras assure de plus un corps au bureau national de Da11Se au Canada. a robie superieure. Depuis, il ne suffir plus harmonieux et balance. On conseille habi­ .:ie pratiquer un sport pour se mettre en ruellement de travailler avec des poids qui 10 DANCE IN CANADA cape'.zio on stage off stage

tbe SCHCDL of DANCE Merrilee Hodgins Joyce Shietze " Directors Pre-Professional 1339 Wellington St., Programme Ottawa, Ont. K1Y 3ij8 by audition only 729-3756

NCE

T e 11~Jl Practical Magazine of Dance

(o"o:v= m - O Payment Enclosed □ Two Years $ 29 O Please Bill Me I Payable in US Currency Featuring In Each Issue: Name Spotlight on I Successful Teachers Practical Tips I Address Building Your Library 3 Calendar Sections I • Seminars & Published bimonthly Workshops Plus two annuals: • Auditions I Costume Preview u~ • Competitions Equipment Update Merchants of A mer1ca DANSE AU CANADA 11 eirdre Kelly ancewear1n• ,.. __ e Eighties ashion, Function and Form

styles extravagants et pre/ere ses maillots et ses bas de rechauffement traditionnels. Pour lui, /'aspect fonctionnel vient avant la mode et ii n 'est pas pret a !aisser ses maillots uniformes pour des tenues bario­ lees. L 'explosion du marche des articles de danse a attire !es consommateurs qui se veulent ala mode, al a grande satisfaction de ceux qui la lancent. Malgre I 'augmenta­ tion des prix, l 'acheteurcanadien pre/ere toujours !es marques americaines. Les fa­ bricants canadiens restent, a son avis, con­ servateurs dans leurs styles et leur utilisa­ tion de nouveaux tissus.

Dancewear is the latest in vogue and almost everyone but the most dyed-in-the­ wool or skeptical dancer is happily joining the fashion hit parade. The past decade's burst of interest in dance, especially in its popular manifestations - disco and dan­ cercise - has spawned a new breed of body-conscious consumers demanding new lines of close-fitting dancewear. Feeding today's needs for work-out clothes that combine function with fashion are the dancewear manufacturers. In their hands, the old styles of what most professional dancers call ' practice clothes' have exploded into bold stripes, vi brant colours and flamboyant styles. While the consumer on the street, not to mention the manufactureer and retailer, is loving the latest fashion rage, the serious dancer or student often views the trend with a certain sour contempt. It's almost akin to sacrilege. What a dancer looks like and what a dancer actuall y is marks the dividing line betweent the pro's solids and :eret accru pour la danse et /es the amateur's flash y stripes. freedom of movement on the dance floor. _ :1ements populaires qui en ant resulte The solution seemed easy. Look to dancers ro. conditionnement physique, 'dan­ Disco-mania makes and w hat they wear everyday in rhe cla - :·se '), ant marque des changements room . The trouble was, dancer them­ .11tionnaires dans le vetement de fashion-conscious dancers selves then had little in the way of attrac­ ·se. En quelques annees, /es tenues de tive dancewear - a few basic colours and :se sont devenues a la pointe de la mode When disco-mania infected the nation in not very flattering styles. Suddenly a new . r de nombreux acheteurs. Le danseur the early seventies, people started needing market opened up before the greedy eyes of e:1x, par contre, reste indifferent aux fashions that would allow them complete quick-thinking businessmen. Typically, it 12 DANCE IN CANADA was US dancewear manufacturers who saw constant wear as do established profes­ been able to compete effectively with their their chance and they did nor miss it. sionals. If they are like National Baller American counterparts w ho use the lates t Until the disco-craze hir, the American principal Veronica Tennant they will and most expensive machinery on which firm Danskin was producing only three accumulate a huge wardrobe-full of leo­ the newest elastic ya rns are woven. The bas ic styles of leotard in about as many tards and rights. T he student and profes­ retailers will even admit that Canadian colours. Capezio was hardly more prolific sional wi ll still most likely favour a few manufacturers are too conservative and in its offerings nor were the Canadian basic designs of leotards and tights. If a unimaginative in their approach. Dancers makers, Mondor and Johnny Brown. dancer likes a leotard she will keep it for often complain about poor styles and When Dual Marketing rook over Danskin yea rs . Bur if the design turns out to be fabrics. But, then, its hard to compete as one of its major accounts shortly after poor she will ditch it quickly. Generally, against well-financed American companies the disco boom, things started ro change dancers buy trusted designs and labels they with huge domes tic markers. quickly in the dancewear industry. Dans­ are sure to feel comfortable w ith for years Not all dancers see the developments of kin began to cater to a larger following of on end. the past decade as essentially peripheral to non-dancers rhan ever before. A complete Major manufacturers of dancewear their concerns. They are nor always danc­ .line of fashion wear evolved. It featured make their products for the serious dancer ing but dance-inspired fashion wear may Miliskin , a registered trade-mark name for at the sa me rime that they cater to the appeal to them for use outside the studio. a new fabric blending lycra and nylon. In trendier needs of the fashion mongers. Also, before Danskin introduced its free­ contrast to cotton - the material most Next to style, business dictates the move­ style wear in 1976, dancers had to scour used until then, sometimes in combination ments of the dancewear industry. A few the stores if they wanted to break away with nylon - Miliskin withstands the years ago, Playtex bought out Danskin from the strict ballet school regimen of increased body hear and swear that goes and there was some fear among major pink rights and bl ack leotards. Dancers hand in hand with dance. Cotton may be suppliers of Danskin that the product like to create their own studio fashions great for all owing the body to breathe bur would suffer in quality. But, according to and style - often with funky combinations it looks remarkably unattractive when Wendy Kelly, the ma jor disappointment of conventional dancewear and regular sagging from the stress of bent knees and from the takeover was the loss of the very fashion lingerie. twisting bodies. Silk, once favoured by popular cotton Danskin bra. Playtex Veronica Tennant remembers going to some dancers for ri ghts, wears even more decided ro eliminate ir to gain an upper Eaton's children's department to find badly although it has a gorgeous sheen. edge in their major area - women's tights in interesti ng, attractive colours. Miliskin is not only more durable, it is underwear. In this case, big business over­ The boom in fashion dancewear allows also more versatile . A woman gracing her powered the consumer and dancers were her to find durable practice cl othes but wardrobe with a freestyle leotard in Mili­ made to follow the dictates of boardroom still feel feminine and attractive. ski n can sport it in dance class, in a night moguls. club or in the pool. Trusted labels may not always mean Modem dancers disdain what they say either. A retailer may buy Trim bodies at a price rights to a trademark - a form of franchise fashion - but market products of cheaper quality Miliskin has recently acq uired a new cou­ designed for a different kind of consumer. Modern dancers, on the other hand, gener­ sin in the constant evolution of dancewear. In Toronto, for example, experienced all y disdain the latest fashion rages. Dou­ Trimskin, Danskin's answer to those who dancers w ho like Capezio's goods tend to glas Nielsen, a New Yorker who was per­ want the illusion of fitness without all the avoid popular fashi on-oriented outlets and forming and teaching in Canada during hard work, is a material used to make look for rhe traditio nal Capezio lines else­ the summer, complains that rhe major control-top, heavy-weight leotards. w here in stores that cater primaril y to their manufacturers of dancewear in North Wendy Kelly, sales manager ar Workouts, needs. American have recently turned their backs a Toronto dancewear fashion store, claims Capezio bodywear is of a uniformly on the professional dancer. They are too the m·arerial was introduced in 1980 to high quality and has a large Canadian busy fussing over the dancercise crowd. give additio nal support to a glossy and market. Carl Vorps, owner of the Toronto N ielsen calls the matching head bands, attracti ve leotard. Trimskin is strongly Dancewear Centre, claims that while rights and striped leotards, ' plain tacky'. competitive with lines by Flexorard, a Danskin may be a household word for Many modern dancers, preoccupied per­ popular item with dancercise people. Both non-dancers, Capezio is the trusted label haps with a concern for movement over products are manufactured with the for theatre people. Capezio pursues a dreams of stardom, say they would feel beauty of the consumer in mind. As Betty steadier marketing policy with fewer fluc­ self-conscious wearing chic new fashion Dobson at the Toronto Malabar's puts it: tuations in style, colour and fa bric. Cape­ lines. As Nielsen says, ' my energies are 'People are going ro dancercise (aerobic zio dealers, such as those at the Toronto spent on my dancing, not on building a co­ exercises done to jazzy music) to look Dancewear Centre and The Dance Shop in ordin ated wardrobe of dance clothes'. beauti ful. They want to dress rhe part. Ir's Vancouver and Cilgary, tend therefore to Criticism of dancewear manufacturers a great psychological boost.' sell to rhe less fashion-conscious profes­ by dancers is, however, short-sighted and Those who have worked hard yea rs to sional dancer. na·ive. Business is busi ness and if there is a build real muscle have no use for the profitable marker in fashion dancewear Trimskin leotard. All the profess ional Canadian manufacturers lag they can hardly be blamed for exploiting dancer wants are clothes rhar conform ir. They are not in the busi ness purely for well to the shape and movement of a behind love. strong body. The dancer does not need to The revolution in dancewear has a posi­ convince others of her own phys ical beauty. Canada is big business for rhe American ti ve aspect for the dance profession itself. Undeniably, dance students require manufacturers of Danskin and Capezio. The sale of stylish dance clothes inevi tably practice clothes that hold up to years of Canadian dancewear producers have not enhances the publi c visibility and aware- DANSE AU CANADA 13 .:ance. People who cake dancercise revolucion in dancewear has happened. part of a dance world that symbolizes ::o may wane co see whac cheacri- The businesses ch ar once cacered co a health, youth, energy and beauty. Who can - ng is a ll abouc. limited cliencele of dancers and students really blame them ? rer or worse, che commercial now serve a swelling public eager co feel

-.exual revolution which, in che world at least, has allowed male co appear on stage virtuall y • .: without causing an uproar, has xploded one of che unspoken mys- - o bailee. It used co be a fa miliar - on, asked sotto voce, of course: - ·,·hat do they wear underneach ·ighrs)' A corollary co rhac ques­ o nly the boldest or most brazen c: dare as k it), was: ' Do they stuff it anvching)' I. onl y the most innocenc and : rmed of dance-lovers do not now ·hac che most fundamencal piece -cewear for the male is a seamy '.-nown generally as a dancer's belc. -: · long ago, in England, they were -e·erred to as jock-straps (or even, :::-enrly, as 'flopper-stoppers') but · ·ociati on w ith sports has proved .; ,comforting for dancers and so the :er rerm prevails. · o netime, in bal let, mens' costumes ·esigned in such a way that mosc of .~occh and behind was covered. In .arl\· years of the cencury, men were Br ian \X/e bb and Ken Gould exemplify the contemporary au dience's acceptance of ,·irtual nudity in dance perfor111ance in rhis scene fro111 \Xleb b"s Field. --equi red co wear silly little knicker rs co cover what was considered a Some of the latest designs in dance in the line of the dancer's leg through che acive area of t he body. (Nijinsky belts do, in fac t, provide a fairl y ch ick hip co rhe waist. :ired from rhe Imperial Russ ian layer of soft padded material which helps One solution is co wear tights o f a ; because he once rebelled and achieve the desired smooth, rounded heavier material or to wear cwo pairs of -.ed co wear ch em. ) effect. the modern tights. Most dancers res ist wadays, with the use of fi ner mare­ There is no question that some doing this. The solution favoured by in rhe manufaccure of tighcs and rhe dancers, notably some very famous Rus­ careful dancers is co make the belt as close arion of costume design from puri- sians, have favoured rhe use of extra as possible in colour to their underl yin g ..:al crictures, the dancer's belt has padding. Members of the National skin tone. Altho ugh the sun may never _ roone its own rev olution. Ba ller once presented Rudolf N ureyev see this part of their anacom y the skin . e dancebelr of the forties and fifties with an elaborately decorated, fur-lined still d iffers in cone from the off-wh ice of a cumbersome affair, often made in garment w ith which he is reputed to have a standard dancer's belt, (black is the - uncomfortable cloth and covering a been well pleased. other standard ). O ne very practical way _ area. If worn w ith today's exposed Whil e the dancer's belt is supposed co is to immerse the belt progressively in · umes it would seriously discort the give its wearer needed support and com­ tea. T he stain build-up can be controll ed · ral shape of the buttocks. Anyway, fort and to offer che audience a clean, uncil the desired hue is obtained. No a uncomfortable. pleasing appearance t he use of modern show-through: a more beautiful line! stretch fabrics in the making of ri ghts Ir now remains to be seen w hether the e'er form and is made of softer , more and other bodyfitting costumes has lacest lines of dance-belt w ill also have a \. washable materials. W hile provid­ creaced a new problem: show-through . spin-off in hi gh fas hi on. Certainl y, they .: adequate support at the front it is If you've never noticed it on stage you are more comfortable than the conven­ _ erall y cut co leave the burcocks free . can easi ly spot it in phocographs of tional athletic supporter (jock-strap) for upporr is, of course, its most impor­ dancers, particula rl y if they are wearin g such activities as joggin g, bur w ill they ; function byt the dancer's belt is also sheer w hite eights. The li ghc penecraces become the latest in beachwear) If so, ·ended co soften the concours of the the fa bric and is reflected off the heavier look our for stripes, patterns .a nd fa ncy _ !tals ro provide a more aestheticall y maceri al o f che cup or elas ti c of the belc colours. If there's a marker waiting, a~ing appearance. to create a di sturbing visual interru pc ion someone's sure to find it soon. 14 DANCE IN CANADA

Photo-Gallery: Melodie Garbish

Annette av Paul and Jacques Drapeau of Les Grands Ballers Canadiens in John Burler's Othello.

Melodie Garbish, montrea/aise de nais­ la photo sur scene ou elle peut saisir le Melodie Garbish, apart from being the sance, est venue a la danse apres avoir pho­ mouvement du danseur dans toute son youngest photographer to be featured in tographie des patineurs artistiques et des intensite, ce qui est impossible en studio. Photo-Gallery is also its first female sub­ courses de chevaux a obstacles. Elle a Melodie est une gran de admiratrice de la ject! Her admiration for the renowned acquis un sens instinctif de I 'impulsion du photographe americaine Martha Swope American photographer Martha Swope is mouvement qui lui pennet de capter le qui s 'est imposee avec succes dans une pro­ not just born of a respect for her artistry danseur au parfait moment. Melodie est fession essentiellement masculine. but also of the success with which she has autodidacte et elle a pris ses premieres pho­ 'D 'apres ce que i 'ai pu constater', dit -e!le, builc a career wichin a male-dominated tos de dallSe (pour la compagnie de dan se '/es gens ont d11 ma/ acroire q11 'zme profession . 'From my experience', says Eddy Toussaint) par go11t pour cette f orme femme puisse /nwdre des photos de quali­ Melodie Garbish, 'I have fou nd that peo­ d'art. Elle a egalement photographie Les te. 'A /'age de 21 ans, Melodie est prete a ple cannot believe a girl can rake pictures Grands Ballets Canadiens et Katinka. Elle leur prouuer le contraire. and be good at it!' t ravaille surtout en noir et blanc et prefere A Montrealer by birth, Melodie photo- DANSE AU CANADA 15

Jacques Drapeau, Svlvai n Lafortune and Karyn Tessmer in Ronald H ynd's Les Valses.

Jeri lyn Dana and David La H a,·

,...,.,._..,.,-1 figure skating and horse jumping She favours performance pictures for Although she has taken a number of _ he 1976 Olympics before she their spontaneity and feels that her expe­ photography cl asses, Melodie Garbi sh is on to dance in 1978. With several rience photographing skaters and riders has largely schooled by experience. She uses a · dance training behind her, it is a given her an instinctive sense of when to Mino lta XD-1 and Canon A-1 with a · ·he art, particularly o f ball et, press the shutter in o rder to capture a range o f fi ve lenses. For black and w hite o tivares her. movement at its fullest amplitude. photography she has left Tri-X in favour -areer as a dance photographer was 'There are movements' , says Melodie, of Ilford XPl (rared up to 1600 ASA) d when she was asked by Eddy ' which happen so quickl y rhar the which she processes herself in Ilford's nr in 1979 to photograph hi s com­ audience cannot perceive the full exten­ recommended chemicals. She mainly . Place des Arts. The dancers' sions of them . Some of the dancers have prints o n !!ford R C papers. For colour she was warm and encouragin g and told me that they are mo ti vated to put on has used Kodak 400 bur wants to experi­ now moved on to pho tograph Les a better perfo rmance when they are being ment with 3M's new fast slide fi lm . , Ba llers Canadiens and Kalinka. phorogra phed ' . CANADA Paula Citron Dance to the Dollar The New Patrons of Dance The Salaried Bookers

Contrairement aux impresarios (vo ir le numero precedent), ceux qui font le choix des spectacles presentes dans !es theatres civiques et municipaux subventionnes se sentent contraints de repondre au goi1t du contribuab!e. J/s doivent etre sensibles aux preferences du public en p/ai;ant !es leurs au second plan. Les agents de spectacles de danse dans !es grands complexes cu!turels modernes comptent sur d'autres organisa­ teurs de tournees pour leur offrir des spec­ tacles et font parfois des reservations en cooperation avec d'autres theatres pour reduire leurs f rais. L 'aspect monetaire reste un f acteur crucial. Les compagnies de danse en toU1nee sont cheres et tout comme /es impresarios, /es agents de spec­ tacles salaries n 'ont aucune intention de perdre de I 'argent.

In cities across the land, amidst the steel and concrete towers of commerical Can­ ada, they rise like temples of another, higher god - the monolithic cultural cen­ tres erected, (many as Centennial projects), to bring entertainment and culture to citi­ zens weary of television and hockey. Because they are publically owned they must also be publically accountable and those who manage them face the dauntin g task of satisfying widely varied audience tastes without incurring huge deficits. On a lesser scale, the same holds true for rhe theatres and auditoriums to be found on university campuses across Canada. Their managers are accountable to a nar­ rower constituency but they are accounta­ ble all the same. As one of them aptly put it, 'When you 're dealing with other peo­ ple's money, gambling is limited'. Most of these theatres employ salaried staff specifically mandated to select appropriate attractions. They can usually be found in near, air-conditioned offices, their desks pi led high with promotional brochures and the walls fe stooned with theatrical posters or contemporary fine art prints. Their dress and manner reflect the Nor all modern dance is as marketable as rhe ·sexy' Louis Falco Company. DANSE AU CANADA 17 nsri rutional settings in which they daily transportation expenses two and a half exist. times as much as the regular fee to bring a T hese are the culture-brokers whose company East.' Penh's five-event dance :'rogramming decisions determine how series does, nevertheless, mix ballet and m ch dance gets to be seen on some of the modern, including several smaller Cana­ .:-ou ntry's largest and most prestigious dian companies. ages . Their personal likes and dislikes Chris Holman, the booking agent (and ·ake second place to their public responsi­ Director of Operations) at the O ' Keefe ili ries and their freedom of choice is Centre in Toronto, is both blessed and -e,·erely constrained. The results for the cursed. 'O'Keefe is a huge house, 3,200 a .-id dance lover are not particularly seats, and it can only be filled by a big · couraging. company. But big companies cost. In the Primarily, the booking officers believe case of Balanchine's New York City Baller, at their responsibility is to appeal to the it's an all or nothing situation. Either ·a res of their constituent audiences which, everyone comes, over 100 artists, or : course, differ in each locale. Peter nothing. Who has a quarter of a million :=-eldman, for example, deals with a stu­ dollars?' Holman is lucky, however, in .:;.enr audience at the University of Alberta finding attractions. 'Because of the poten­ Ed monton. He knows that he can book tial revenue generated by the Toronto many rock stars as budget and time market, international attractions like the rm ir and sell our. In the case of Tom Bolshoi want to come here and contact ;:i rrows at Hamilton Place, substitute me.' O'Keefe is also limited by strict union :;)Untry and western singers for rock and regulations. 'There is a minimum musi­ : e situation is identical. Nonetheless, the cian requirement. I rejected the Royal '":"'en a lso feel obliged to offer as much var­ Ballet of Flanders because the musicians e y as possible and this is where dance would have had to be paid even though the • rers their programming. company had tapes.' To understand com­ pletely where Holman's priorities lie, _ 1odern Dance is hurting ... however, is to reali ze that he stresses the

H amilton Place profit motive and is proud of the fact that -:: ldman and Burrows, however, face the O'Keefe (a sensitive budgetary issue at · diences indifferent to dance. ' Modern one which interested me so I'm going with city council) made $650,000 last year. .:ance is hurting in Edmonton', explains a modern company from France and Peggy Even though Holman himself loves dance, Fe dman. 'Last year the token modern on McCann.' Emmett, who fills half her high risk companies thus rend to be low on Alberta Baller series was Lar Lubovitch annual program with dance, has over the the O'Keefe's totem pole of attractions. d there was a tremendous subscriber no­ years presented an impressive list of small Perhaps the most hospitable climate for w rate. He had 800 people in a 2,700- Canadian companies even though some, dance is Ottawa's National Arts Centre. r hall! ' Thus, for his 700-seat Students such as Anna Wyman's Vancouver-based Ted Dimitri, longtime head of Dance and · · nion Theatre, Feldman programs cau- troupe, cancelled because of the theatre's Variety at the NA C, seems to have more - usly. 'I don't like to book anything I low ceiling. Emmett's other problem is money available than the others. 'We have ~a ·en't seen and liked. A video is nor good inflation. She no longer can afford some a mandate to have Canadian groups per­ e-,ough . I try to have three dance compan- of those she booked in past yea rs. 'Eddy form here even though dance is not a big ' one per semester.' In H amilton, Toussaint wants $3,500. T har's almost money maker. The variety income offsets ir her baller nor modern dance seem to my entire budget!' she exclaims ruefull y. the dance loss. The NAC has a policy that .:fo ,·ery well. H avi ng lost $26,000 on Canadian dance companies pay no our-of­ .,1arrha Graham and $14,000 on The Dance does well in Halifax pocket expenses. We pick up costs not oyal Baller of Flanders, Burrows can­ covered by ticket sa les. There are two ser­ :elled the Eliot Feld company rather than In H alifax, another person who has enthu­ ies - a Showcase which is a mix of inter­ oe down another $30,000. Thus, Burrows, siastic dance audiences is Erik Perth at national and large Canadian companies, a confessed dance freak, has made room Dalhousie University. His 1000-seat both modern and baller, which appears at ·or onl y two dance events next year, a Rebecca Cohn Auditorium is the biggest the opera house, and the theatre has the ·utcracker and the National Baller's booker in the East. 'Chamber and solo rec­ smaller Canadian companies. We generally ring season. Strangely, according to Bur­ ital audiences have dropped off in the last accommodate most small companies that -ows, the Canada Council 's Touring few years but dance has not diminished. I request dates for one night. Also, the O ffice is of little help to Hamilton. 'We're will rake all the dance they can se nd me', major ballet companies rotate doing their -:nore deprived than Flin Flon, Manitoba.' he says. Perth was instrumental in getting N utcracker in Ottawa each year. We have In contrast to Burrows' audience down­ the Canada Council to help send the coun­ between twelve and sixteen dance events a ·own is that which flocks to Natalie try's three big baller companies out on year. ' Dimitri admits, however, that he Emmett's tiny 186-sear Robinson Memor­ rour every yea r, either West or East. does nor actively pursue dance. He sits at al Theatre at McMasrer University in Audiences from coast to coast can now see hi s desk in an office overlooking the Hamil ton's west end. ' I even have sining ball et on a regu lar bas is. As for the smaller Rideau and waits for agents to call him. ·oom on the carpeted aisles. I've found the companies, Perth can onl y engage them if He does, on the other hand, go after va r­ 300 people in H amilton who enjoy good they are heav il y subsidized. His theatre is iety acts. 'Dance is easier to book. There ;>rograms. I usually like three dance events too small and the local population base are only so many on tour.' ur for next season I couldn't find a third too narrow to cover expenses. 'It costs us in As well as the unique circumstances 18 DANCE I CANADA which influence booking decisions, there year. Every time you sell a sporadic attrac­ are common factors affecting the theatres. tion, it's like starting from scratch which Several are bound by booking priorities. is one of my problems in Hamilton.' At O'Keefe Centre, for example, the dates Money, needless to say, is one of the for the National Ballet and the Canadian keys to booking dance. 'If companies want Opera Company are decided first. They to come in on their own', explains Bur­ are preferred customers and enjoy a break­ rows, 'straight rentals are discouraging', even rent. Holman then works around Holman points out that it is $6,000 a day their performances which consume 27 or $44,000 a week to rent the O'Keefe. weeks. The other two mainline Canadian The standard contract for booked attrac­ ballet companies, Les Grands Ballets tions is a flat guarantee or a guarantee plus Canadiens and the Royal Winnipeg Ballet, a percentage, but these artists' fees are only also strive to have a regular Toronto sea­ a fraction of the total cost. A large theatre son. These commitments reduce the may have a budget in the millions but is number of weeks available for a varied dealing with large-scale expensive enter­ program, let alone other dance events. The prises needed to fill a huge stage. It's all same holds true in Halifax, Hamilton and relative. Peter Feldman has $400,000 of The mammoth interior of Toronto's O'Keefe Centre Ottawa where Perth, Burrows and Dimitri which $100,000 is for artists' fees while must accommodate local symphonies and Emmett has only $3,800 - a figure frozen theatre groups first. you have to charge $30 a ticket1' for the past 11 years. 'They're not gung-ho Peter Feldman points to another prob­ The sharing of high transport costs on the arts at McMaster', she adds, wryly. lem facing most bookers. 'There doesn't through block booking has, understand­ Chris Holman, however, confides that seem to be a cross-over audience. The ably, become a popular programming certain attractions are worth risking ballet attenders don't seem to come to recourse. On a large scale, for example, money on if the theatre's prestige is modern dance and we rarely draw off­ Dalhousie, the cultural centre in St. involved. The O'Keefe Centre therefore, campus. When Eric Hawkins said he John's, Mt. Allison University and Char­ booked the Royal Ballet on its 50th Anni­ would be touring the northern US and did lottetown work together. On a small versary tour in 1981 and Holman talked I want him, it was May and the students scale, the CCI (The Campus and Com­ his Board of Directors into absorbing the were gone. I couldn't take the chance.' munity Impresarios) bring together the deficit. 'We netted $500,000 in tickets and Chris Holman agrees that there is very lit­ southern Ontario universities and small still lost money but it was an important tle cross-over between Harbourfont, Ryer­ towns who pay for attractions on a pro­ event.' Peter Feldman, in the current sea­ son and O'Keefe and he can't explain it. portional basis depending on the scale of son is putting himself in a big risk position 'Maybe we should use each other's mailing their budget. with Louis Falco. 'Falco is sexually excit­ lists', he muses. ing. It is what modern dance claims to be Subscription series can work but never is. I've rented the Jubilee Audi­ High Prices torium for two nights. His fee is stiff, Sometimes overlapping or close booking $20,000, but with the Fame tie-in, I think The bookers depend heavily on tour organ­ occurs because of space availability which he'll do well.' Erik Perth is taking a calcu­ izers, the Canada Council's Touring Office saturates the market. Short term dance ser­ lated risk in the interest of audience devel ­ or the independent impresarios, for their ies are a way of getting around this prob­ opment. In the smaller 200-seat theatre at dance programming. For example, the lem. During the fall of 1983, The Sadler's the Dalhousie Arts Centre, he sponsored a tour of Sweden's Cul berg Ballet, appearing Wells Royal Ballet, the National and Les March choreographic workshop of local in Halifax, Ottawa, Toronto and points Grands Ballets are all scheduled to appear amateur and professional talent. Three west this season and subsidized by the at the O'Keefe and at a time of economic hundred people were turned away! That Swedish government, has been organized recession when the audience is more selec­ should be some comfort. by Uriel Luft's Montreal-based arts man­ tive in its spending habits, Chris Holman Nonetheless, allowing for the high agement company, Specdici. The inde­ feels that the three must be run as a series. price-tag on dance, those responsible for pendent impresario is also heavily depen­ This solution, however, does not necessar­ booking into subsidized theatres have dent on the salaried bookers for their ily work as well as it should. When last arrived at a gloomy consensus. The dance houses as well. David Lui, for example, is year the bookers in Edmonton realized audience is not large enough to warrant bringing the Sadler's Wells Royal Ballet to that six events were slated for the month taking risks. Unless even the small com­ Vancouver and the rest of Canada in 1983 of November at three different theatres, panies are subsidized, they stand only a and needs the big theatres. Even a small they created a subscription series but slim chance of being engaged. Only the company such as Toronto Dance Theatre audience response was not good. In Peter independent dance impresario seems will­ costs $2,500 a performance and this fee Feldman's view it was too long to be a ing to take brave risks. Tom Burrows' cau­ can reall y eat into a small budget. If the dance festival and too short to be a true tion is characteristic: 'You can 't build your Canada Council did not give touring series. Tom Burrows, however, maintains dance audience without risk, but you can't grants which cover transportation costs, that the best way to build a dance aud­ take risks that might mean a substantial theatres could not afford to book the ience is to offer a festival. 'In a concen­ loss. This is the Catch 22 of the salaried Toronto Dance Theatre. Unless the United trated period of time you can build up bookers' . As Peter Feldman adds, point­ States' National Endowment for the Arts media hype and generate interest, but it edly, 'I tell my attractions, don't take a subsidizes tours to Canada, very few salar~ takes a biginfusion of money. That is how bath or you'll never be back 1' ied bookers will risk presenting the expen­ Opera H amilton came about. It grew out sive American companies. As Holman of local support for Festa Italia and now says, 'You're limiting your market when Hamilton produces two grand operas a DANSE AU CANADA 19 Obituary

Diana Brown, the producer responsible for CBC-FM's Les amateurs de danse au Canada se souviendront weekly program,The Dance, (which ran from particulieremenr d'elle pour avoir lance er realise avec '.'Jovember, 1976 to December, 1979) died on July 27 succes !'emission de CBC-FM, The Dance, rous les after a lengthy illness. She was 49. dimanches apres-midi. Mrs. Brown was born in Australia where she Diana Brown a roujours ere fervente de baller clas­ worked for the Australian Broadcasting Commission. sique et avec The Dance, elle a pu combiner sa pas­ Following extensive travel in Europe and a period in sion pour· la danse et la musique. Animee par Harry England working for the BBC, she came to Canada iri Mannis, The Dance offrait a un auditoire fidele une rh e mid-fifties and joined the CBC. revue du monde du ballet et de la danse rnoderne en During more rhan two decades with the CBC, presentant aux Canadiens les actualires de la danse Diana Brown worked in Toronto as a Radio Music dans leurs comrnunautes respectives. L'emission dif­ producer. Among her programs were Themes and fusait egalement des rapports, des interviews, des · ·1riations and The Music of Spain. More recently, commentaires, des documentaires et , bien entendu, de she worked on the Toronto Symphony Orchestra and la musique de danse. ·· chamber music series from Toronto's Town Hall for Diana Brown a ete amerement de,ue et personnel­ -1.rts National. lement touchee l"orsque son emission a ere arbitraire­ Dance-lovers across Canada, however, are rnent annulee en auromne 1979·. La raison invoquee ndebted to Diana Brown for her outstanding work par Robert Wagstaff, chef du reseau FM de CBC, et as o riginaror and producer of CBC-FM's weekly Sun­ Robert Sunter, chef des programmes musicaux radio­ day afternoon show, The Dance. diffuses de la CBC, - un changement general dans la Diana Brown was a life-long devotee of ballet and plannification des emissions - a ere loin de sarisfaire The Dance was a program in which she found herself de nombreux membres de la communaute de la able to combine her passions for dance and music. danse. "X·i ch genial host Harry Mannis (and a very loyal in Mrs. Brown's name at the National Ballet School Apres avoir re,u un flor de lettres de protestations, audience), The Dance ranged widely through the and a memorial concert of music and dance planned la CBC a accuse Mme Brown d'avoir organise une .arid of ballet and modern dance. It educated and for this fall may be used as a benefit to raise funds for campagne. La CBC y a repondu en promertanr que .nformed Canadians about what was happening in the endowment. Arts National, qui devair alors etre deplacee de -heir own dance community and it successfully placed Diana Brown's friends and colleagues will l'apres-midi en soiree tousles jours de la semaine, e achievements of Canadian artists in a broader remember her with great affection and respect. She comblerair le vide lai sse par l'annulation de The ., o bal setting with its reports, interviews, commen­ was vivacious, charming, compassionate and, in her Dance. Cette promesse n'a jamais ere renue. -aries1 documentaries and, of course, dance music. work, utterly professional. She had integrity as an L'importance historique des documents rad iopho­ Diana Brown was bitterly disappointed and per­ artist in her own right (with Diana radio production niques de The Dance n'est cependanr pas rombee dans sonal ly hurt when her program was peremptorily became an art) and, above ali, as a human being. l'oubli et !'Association Danse au Canada a decide de cancelled in the fall of 1979. Although Robert Wag- Although she died prematurely, nobody should les conserver sous forme ecrite. Grace au gfnfaeux aff, Head of CBC's FM network and Robert Sumer, imagine she died unfulfilled. Her support of develop­ soutien financier du Conseil des Arts du Canada er du Head of CBC Radio Music, explained this decision as ing talent, the high standards she set for herself, her Conseil des Arts de !'Ontario, et avec la collaboration a broad adjustment of program planning, many contribution to rhe development of the dance in this de la CBC, !es retranscriprions des emiss ions sonr members of rhe dance community still felt no sari fac­ country- these have already left their mark. main tenant presque term ini-es; elles seront conservees tory reason had been given. en archives dans une universire au Canada. En avri l Mrs. Brown was subsequently accused of organiz­ dernier, I' Association leur decernair officiellement le ing a 'write-in' campaign when the CBC received an titre d' Archives Diana Brown de la danse. unusually large quantity of complaint letters. The Diana Brown, realisatrice responsable de !'emission II esr egalement question d'insriruer un fonds de CBC responded to these by promising that Arts hebdomadaire The Dance a CBC-FM (diffusee de bourse au nom de Diana Brown i, I' Ecole narionale de "lational, just then about to be shifted from its novembre 1976 a decernbre 1979) est decedee le 27 ballet. Un concert de musique et de danse en sa weekday afternoon slot to weekday evenings, would juillet dernier a l'age de 49 ans, a la suite d'une mi-moire, prfvu pour cet automne, devrait permettre fi ll the gap left by the dumping of The Dance. The longue maladie. de rassembler des fonds au profit de cette dorarion. promise never materiali zed. Originaire d' Australie, Diana Brown a fair ses C'esr avec une profonde affection er un grand T he archival importance of the material generated debuts a !'Australian Broadcasting Commission. respect que Jes amis er collegues de Diana Brown se by The Dance however, was nor forgotten by the A pres un long voyage en Europe er un sejour en souviendront d'elle. Sa vivacire, son charme, sa com­ Dance in Canada Association which put in motion a Anglererre ou elle travaille a la BBC, elle est venue au passion et sa haure competence profess ionnelle seront project to preserve it in print form. With generous Canada vers le milieu des annees 50 er est entree a la regrettes. Ell e erair tres appreciee pour son inregrire en upport from the Canada Council and the Ontario CBC. tant qu'artiste (avec Diana, la realisation radiopho­ Arts Council and the CBC's co-operation, transcripts Au cours de sa carriere de plus de 20 ans a la CBC, nique est devenue un art) er surrour en rant qu'erre of the programs are nearing completion and will be Mme Brown a ere realisarrice d'Cmissions musicales a humain. Bien que son deces soit premature, elle acer­ lodged in a prominent Canadian university as a valu­ Toronto donr Themes and Variatio11s er The Music of rainemenr eu la satisfaction d'une vie bien rempl ie. able resource for dance scholars. The Association Spain. Plus recemmenr, elle a realise les series du En encourageanr !es jeunes talents, par le niveau de offic ially named this The Diana Brown Archives of Toronto Symphony Orchestra et de musique de perfection qu'elle s'erait imposee et par sa contribu­ Dance last April. chambre diffusees a parrir de la mairie de Toronto tion au developpement de la danse au Canada, elle a Plans are also afoot to establish a scholarship fund pour Arts National. deja lai sse une marque profonde. 20 DANCE I CANADA In Review

Dance in Canada (King of the Road, Dang Me, Conference among others) belied the preci­ Ottawa University sion and virtuosity of the move­ National Arts Centre ment and highlighted the Ottawa relaxed playfulness of this pug­ 23-27 June 1982 nacious pair. Four days and more than I started attending Dance in half a hundred performances Canada Conferences back in down the line West's Locomo­ 1977 - the Winnipeg Confer­ tor still left the clearest after­ ence. What a fiery initiation image in a seemingly endless that was: the year the dance series of duets. One soon lost community was split by violent track of the number of times a disagreement over the role and woman leaped upon an appar­ procedures of the Canada ently uncaring man, clung there Council 's Dance Office. This briefly, then dribbled off into a rifr marked the conception of heap on the floor. T he dancers, Svl va in Emard, Andrew H arwood, Jean-Remi Arsenault, Gurne,· Bolster the now powerful Canadian (foreground), and Ginette Morel, Jacquelin Lemieux, Carol,·n Schaffer, Fran,oise costumes, music, lighting kept Association of Profess ional Cadieux in h,/k Dancel Ice, choreo~raphed b)' Jo Lechay. changing but the battle of the Dance Organizations. sexes raged on. Danielle Tar­ It was also the year Margie ence, really. It is easy to get hungry for something new. If diff, sporting electric hair, was Gillis 'exploded onto the dance around, there are some good yo u have a perfect physique, driven by poundil)g rock music scene', to quote just about restaurants, tourist sites and glorious legs, delicious feet, so straight into the arms of Daniel every reviewer bewitched by shopping, but nothing that what! You must prove your Soulieres in his Berceuse. Wil­ that wild spirit with cascading threatens to distract a delega te technique. If you are well­ liam Douglas' Sunday After­ golden hair. It was the year the from the matters at hand. It's trained then prove you can noon, danced by him w ith National Ballet participated certainly not a likely place to reall y 'dance'. If you're a spir­ Patricia Fraser, was airy and with its newly acquired Ashton foster discontent, rebellion, ited mover then prove yo ur evasive with shadowy gestures ballet Monotones II and the change. In fac t, the Ottawa choreographic skill. If your of breathless innocence. Eve yea r Jennifer Mascall chose to conference was so pol ite that if dance is well-crafted then show Lenzner's The Elements, per­ dance with a partner of such an the trend is allowed to go any them you have something im­ fo rmed by Debra Smith and unconventional plumpness that further, next year in Saskatoon portant to say. And if you Robert McCollum, treated the the audience worried she would threatens to be little more than reall y have something to say subject of couples with discreet have a heart attack at any a cheery tea party. then for god's sa ke say it gentility while Martine moment. It was the year of Performances were every bit clearly, concisel y, with wit and Epoque's passionate Litanie for Ernst Eder's ritual decapitation as numerous and overwhelming honesty and get the hell off the Sylvie Pin ard and Phillipe Vita, of an entire audience with a as in years past but the presen­ stage. You will have won their returned to the agony and mile of coloured fabric, and the tation was somewhat saner. hearts forever. ecs tasy of sex, pregnancy, mis­ coming our of a great many Those W innipeg and Van­ If you consider the fact of carriage (symboli zed by a creative and audacious inde­ couver marathons which began grumpy audiences then inde­ crumpled red sash flung to the pendents and one very talented in early evening and droned on pendent choreographer Julie fl oor!) and finall y more sex. weather ball oon. 'til past midnight have been West drew the plum time slot - Andrea Rabinovitch's You're The atmosphere was intense­ repl aced by a series of smaller first day, fi rst show. Ottawa Not The Only Oyster In The ly experimental, fractious - shows running throughout each U's Academic H all was packed, Stew, danced with Ken Gould, very healthy. Since then each day. This is surely a more the audience fresh and ready for was a goofy and light-hearted subsequent conference organi z­ humane arrangement. Sched­ anything. West's Locomotor bit of nonsense which pleased in g committee has tried to righ t ules are such that one cannot did not disappoint. She is tiny, the audience and was one of the what has been perceived as the possibly see everyth ing and so an urchin wi th reddish hair few dances that did not over­ wrongs of rh e previous group, must pick and choose and one cropped to practically nothing. stay its welcome. and then to give it their home­ arrives fresher and more Her partner Lloyd Blake is The Mime duo Face to Face town's unique stamp. Conse­ charitably disposed to the bigger, very athletic with lots Network (Wayne Constanti­ quently, every year the event is performers. of light, wooly hair. Costumed neau and Carmen Orlandis­ a little more orderl y and the And what of those earnest in vivi d green and black the Hapsburgo) presented First delega tes, regrettably, a little performers? It's no easy thing, two alternately flung them­ Love, a sweet mime duet whi ch more civilized. dancing for an audience of selves into contact-style en tan­ left one pleasantly intrigued. Ottawa seems to get prettier dance people - even one as glements and unravelled into Bur instead of leavi ng well every year. It is a quiet, plea­ polite as the Ottawa delegates. wary truces. A coll ection of enough alone the duo persisted sant city, perfect for a confer- They've seen it all and are nosragic Roger M ill er tunes with two more pieces of sub- DANSE AU CANADA 21 rantial length until the aud­ contact falls and rolls. ience's store of patience and Throughout she is enveloped by good will was completely the vocal pyrotechnics of exhausted. Obviously one can­ Ahmed Hassan. Hassan also not put a stop-watch on crea- appeared in an earlier program iv ity and dances will inevita­ with fellow TCD member bly run over the prescribed 10 Savannah Walling in her manic mi nutes, but to insist on show­ dance-theatre synthesis Banana ing two or even three works Split. And Terry Hunter greeted when conference organizers NAC audiences both evenings have such a horde of artists to with a continuous outdoor per­ accommodate seems downright formance of Creature and selfish. Drum Mother, two dance/ per­ Presenting excerpts of longer cussion solos which hinge for \-orks, out of context, is appar­ their success as much on the ently not the answer either. fantastic costumes as on Hun­ ':Vhen Pointiepienu director ter's theatrical and musical Louise Latreille showed the skill. ,hird section of her Le Carrou­ La Compagnie de Danse Jo sel de la vie the result was an Lechay and Peggy McCann and ncomprehensible lot of coming Gina Lori Riley and dancers in her Verticalities, Drops and Animaladies. Dancers are both very young and going distinguished, as companies but the directors ual, by Sacha Belinsky as the one is in drag, nor does andro­ and veteran performers. With have been at it a long time. 'inest in a group of exception- gyny cloud the issue. They are some dreary exceptions, the They have a clear sense of what 2lly fine dancers. not sexual stereotypes but performers awarded a spot in they're about and know how to T he most highly publicized simply human beings. the limelight proved they'd get their message a_cross effec­ ranee of 'overtime' was They seem to draw on a earned it. tively. With Folk Dancel Ice Jo Edouard Lock's Orange. Rum­ common pool of symbols and Numbered among the veter­ Lechay, ably helped by Ameri­ our suggests the piece went 20 even movement vocabulary. an performers who have paid can composer D. Martin Jenni 1inutes over the agreed length Lock's dancer paints white X's their dues and made an indeli­ and an exciting variety of dan­ for the prestigious Saturday on her sunglasses. Fortier's ble mark on the dance com­ cers, breezed into the audience's igh t show at the NAC Thea­ dancers mask their nipples with munity are Keith Urban and collective heart and aroused the rre. Really! Lock happens to be black X's. Thar fluid, ab­ Maria Formolo, Judith Mar­ first lusty 'bravos' of the even­ ,· is year's Chalmers A ward stracted sign-language that is in­ cuse, Karen Rimmer of Termi­ ing. McCann's Great Moments •·inner, the performers (musi­ stantly identified as Lock also nal City Dance, Elaine Bow­ in History pits Vivaldi against ::ian M ichel Lemieux and appears in Silvy Panet­ man of Dancers' Studio West, the Guiness Book of Records. ::lancers Miryam Moutillet, Raymond's Tilt the World and Kathryn Brown, Gisa Cole, She, her dancers and the :..Ou ise LeCavalier, Louis Guil­ even in Margie Gillis' Broken Dana Luebke of Sun• Ergos audience all have fun. I only emette and Lock) are marvel- English. T he pace, pressure and and Margie Gillis. These per­ wish the piece wasn't so long. ous and the piece is a stylish sophistication of urban life formers have followed their - Humour is a rare and much ::lelight for both ears and eyes. looms large. The choreograph­ own routes to a point of matur­ appreciated commodity for This season Lock is perhaps ers use electronic, processed ity and individual perfection dance-weary delegates. Gina :he best known of a burgeoning sound, hard, bright colours, where it is clear they are here to Lori-Riley has an uncanny tal­ ~ oup of dance-artists in Mont­ spray-can grafitti, lots of news­ stay. One may not always like ent for finding one simple idea real w ho work in a style dis­ papers, sparkling glass, slides of everything they do but you can and pursuing it to the point of ,mct from the rest of the Cana­ city-scapes. be sure they'll be back next year hilarity. In Verticalities, Drops ;lian dance community. The This dance community, and the year after, always with and Animaladies she and two French can always be counted dominated by Lock and Fort­ a new offering. other animaladies of undeter­ :m to deal in some way or other ier, has a highl y developed sense Elaine Bowman's The Fool mined species cavort about a ·ich the theme of sexual icy. of personal style. Their creativ­ was wonderfully entertaining. big shiny chrome chair with an The Montreal group is never ity does not begin and end with A stand-out on a program of irrepress ible curiosity. In Aviary 1mid or coy about it and choreography but extends well crowd-pleasers. Bowman en­ Maxine Heppner and her flo~k regardless of individual artists' into day-to-day existence. In a chanted us with her characteri­ of apoplectic penguin-people orientations, the work as a sense they are continually creat­ za ti on of a hapless little jester totter madly off in all direc­ whole has an almost agressively in g themselves. By comparison, whose agitated contortions and tions, have a picnic, smoke a heterosexual tone: heterosexual Toronto's leading young choreo­ gymnastics can't bring him one cigarette, say a few prayers and ut without any male/female graphers are not at all image single inch closer to his heart's all too soon jiggle off alto­ role restrictions. In Oranges all conscious. They might just as desire - a shiny key. Dimly he gether in a pair of huge trousers ·,-ear dainty veiled and feath­ easil y be taken for waiters or realizes the joke is on him and amid general laughter and ered hats and elegant gloves. tennis pros as artists. There's grudgingly surrenders to his sol­ astonishment. They adopt a styli zed walk space between themselves and - _ itude high on a· giant's chair. Perhaps the most heartening ·,-i th pelvis undulating, wasp­ their work, which, once Karen Rimmer's Coming Out aspect of sitting through so ike, forward and back. In Paul created, takes on a separate life of Chaos also begins and ends many performances is seeing Andre Forrier's provocative and breath. on a perch but there the sim­ first-hand how many excep­ Creation both men (Gi ll es While Ottawa U's Academic ilarity stops. This is a solo tionally gifted dancers there are imard and Fortier) and Hall and Odeon Theatre pro­ developed from her group in Canada. In a review that .,-o men (G inette Laurin and cessed the majority of perform­ dance of the same title, a grip­ cannot hope to be comprehen­ _ 1ichele Febvre) wear identical ers, (at a rate of four shows per ping tour de force. At times sive only a few can be named. ,hon, white dresses which bare day) , the evening shows at the Rimmer is a creature of the Among the dancers who etched -heir chests. Both men and National Arts Centre Studio void convulsing in terror, other themselves into my memory \'omen 'give birth' (to rocks and Theatre were ostensibly re­ times the floor appears to include three representatives of and crumpled papers1). But no served for the bigger companies respond like a partner to her the Toronto Dance Theatre. 22 DA CE IN CANADA Karen Duplisea, Grace Miya­ Douglas Neilsen gawa and Christopher House Dance Company performed House's new dance Harbourfront Studio Theatre Boulevard. It's a beaurifully­ Toronto crafred, subtle work danced 17-20 June 1982 w ith a charming mix of cheeky nuance and wise serenity. Douglas Nielsen is a 6'4" dan­ Christel Wall in was ravishing cer/ choreographer whose prin­ in Murray Darroch 's In just cipal work has been with the Spring, giving his dance of Batsheva Dance Company of fl eeting gestures and myster­ Tel Aviv and Paul Sanasardo. ious, private moments a heart­ Though his training began at rending urgency and humanity. the rel atively late age of 20, he Dancemakers decision to seems to have recovered beauti­ bring Arrival of All Time fu ll y. As a dancer he is surpris­ seemed, at first, a mistake. ingly graceful for his size; as a Anna Blewchamp's Arrival is choreographer, he is witty and wi thout doubt a classic and one bursting with energy and of their most important works origin ality. but surel y a new acquisition, The elegant solo set piece of Taylor's Aureole or better yet hi s Toronto program, Head­ Rimmer's Walking The Line was start, is a good example of more suitable. Yet the cast of both. N ielsen, in crash helmet Carol Anderson, Patricia and mesh undershirt, kneels on Fraser, Susan Mackenzie and a box, head down, feet up. To W illiam Douglas danced with music by Telemann he dances such an exquisite purity of an athletic ode in bright white technique and interpretation light. W ith representative move­ Douglas N ei lson in Headstart. that one was never tempted ro ments of swimming, running compare them w ith the ori ginal and jumping, on and around enough baroque flourishes to era ting rather than threatening. cast or in any way to be dis­ the centrally placed box, make the only stage prop of a Perhaps it is Nielsen's belief tracted from the drama of the N ielsen explores his phys ical pedestal-bound Boston fern in the inescapable rel ationship work . Susan Mackenzie liter­ strength and flexibility, which seem right at home. The whole between two bodies onstage all y leaves images in the space, are profound. The work's thing is ridiculous and charm­ that makes some of his choreo­ ghosts that linge r as she moves actual simplicity be-comes ing. But again, Nielsen's dead­ graphy for couples seem so full Oil. apparent as the piece closes panning and comic timing are of meaning. In the more lyrical Theatre Baller's Deborah Wash­ w ith N ielsen resuming opening what make the piece. Could a JAM, the movements of ington is always sure-footed pose. While it is in progress, we dancer not similarl y blessed N ielsen and Smulian-Siegel and elegant. She seems to offer are overwhelmed by Neilsen's make it work? seem more than usua ll y bound, the viewer a gracious welcome 'stunts'. Headstart is a virtuoso Similar in satirical/ comic in­ each to the other, even when into the occasionally imper­ piece; its impact depends lar­ tent perhaps, but with a punch­ the entire stage separates them. sonal ball ets of La wrence gely on the performance of a ier energy and 'danci er' choreo­ Here, the progression is one of Grad us. 'star' like Nielsen - all long legs graphy is What Can I Do Fo r tension, with the subtlest of in­ W ith dancers I ike these to and presence. The same thing You? What Can You Do For dicati ons: an increasingly wor­ count on in the years to come can be said of several other Me? Here, Nielsen has choreo­ ried look on the face of it 's a mere trifle to endure the works in N ielsen's repertoire, graphed an urban street dance, Smulian-Siegel, a simple flick lady who teetered grimly on notably the comic/ theatre pie­ complete with the geek and his of the lower leg that looks a lit­ pointe as if dance were a pun­ ces of which Mon Petit Lapin is gi rl (Nielsen and company tl e like a kick ro the body. This ishment inflicted on her for a good example. member Santa Aloi in black is a relationship that may grievous si ns committed in a Here, N ielsen works around with punked-up faces and hair) incorporate ele_ments of the past life. If there were no feet a sill y quote concerning Gioe­ and the tough, erotic sound of sado/ masochistic. o f clay, aga inst what would we chino Rossini. When asked by a Bruce Springsteen's Hungry Nielsen has taught dance and measure excell ence' beautiful lady how he preferred Heart. What Can I Do is acted as artist in residence at I only w ish those'polite to be addressed, 'Grea t Master' reminiscent of Twyla Tharp's Simon Frazer and York Univer­ Ottawa audi ences would occa­ or 'Divine Genius', Rossini is Jungle/and, which is also sities and following hi s sionally let performers know sa id to have replied ' I like it danced to Springsteen. Bur Toronto engagement, he thev can tell the difference best when you call me mon N ielsen has added more than a remained in town to teach for bet~een excellent and execra­ petit lapin'. pinch of sa tire. As Springsteen several weeks. H is own influ­ ble. Sometimes their boredom The result is an absurd little dissolves into a disco-ier ences have been as varied as hi s and distaste hung thick in the dance in which Nielsen por­ Labelle, a voice-over mono­ places of employment: Merce a ir but, except for one maver­ trays the musical ge nius as a logue discusses the advent of a Cunningham, Grahamist Pearl ick fit of giggles, I never heard a combination disco rabbit new life style involving Perrier Lang, Sanasardo, and he is, sin gle boo or hiss. Few walked / Latin lover. Deborah water and jogging and that admittedly, an eclec ti c dancer. our or otherwise made their Smulian-Siegel dances the whole 'sick organic trip.' That hi s own choreography opinions known. But for the Merry Widow-clad groupie. N ielsen makes full use of his shows such style is perhaps a unfailingl y polite applause one T he pair manage to strike the height and strength in a series surprise considering he was might suspect half of them perfect balance between the of terrific travelling lifts. He ra ised to beli eve that dance was were asleep. self-absorption of the conceited flings Aloi around the stage literall y against his Baptist and the blase all oofness neces­ w ith great, macho abandon religion. HOLLY SMALL sary ro make it hilarious. And and she is all owed to show the choreography boasts enough spunk to make it exhil- KATHLEEN M. SMITH DANSE AU CANADA 23 Rina Singha skirt flared outwards to reveal Hart House Theatre the typical pyjamas, gathered Toronto tightly along the calf, and then 19 May 1982 fell swaying into gentle folds. While the skirt accentuated the Spring, Indian style, came to virtuousity of pure dance, the Toronto in May with a solo re­ veil and the way it was held - cital of Kathak dance by Rina perhaps shyly, half covering the Singha. Showing her skills as face - mirrored the dancer's choreographer as well as dan­ mood. cer, Rina drew themes for her One of the tantalizing as­ dances from the spiri red festi­ pects of the performance was va ls which accompany the sea­ the jingling of ankle bells in the sonal explosion of blossoms. wings as Rina prepared to She evoked a playful mood by make her entrance. These 101 depicting young girls celebra­ bells that are threaded along a ti ng the Festival of Swings. Her rope and carefully tied around vivacity captivated the unfor­ each ankle, are meant to com­ tunately small audience, as, in plement the rhythm of the feet. mi me, she decorated a swing When the pace increased, I with fragrant flowers, and could almost enjoy the artist's swayed back and forth on it. skill with my eyes closed, by T he characterizations of the listening to the slapping of feet next item were tinged with mis­ and the ringing of bells. chievousness. For the Festival There is a striking move in of Colours Rina showed each Kathak which Rina imbues gi rl aiming carfully with a kind with a special quality. The of syringe and spraying brightly hands, which are generally held coloured water over the young in front of the heart with palms man of her choice. In India down, shoot suddenly out into playfulness and love are em­ space and almost seem to recoil blems of springtime. back to their point of origin. Kathak is the dance of Though I have seen other _ orth India that was per­ Kathak dancers perform these formed in the Mogul courts. motions, none seem to achie,·e Like most Indian classical the same darting fluidity. forms, it combines both pure Many contemporary per­ and expressive dance. The pure formers overlook the hands in dance can be seen especially in favour of brilliance in the feet. -he brilliant footwork - in the Even when outstretched, Rina's ,·ay the dancer's feet sound on expressive hands seemed to rhe floor as if it were a drum. provide a melodic line to the The artist may pause from rhythm of her stamping feet. movement and recite a series of The moments of stillness nonsense syllables which re­ that followed lightning-speed mind one of a speeded up foot work and the gentle smile record. But these indicate a pre­ that hovered at the edges of cise rhythmic sequence which Rina's mouth, are the two -he dancer then matches with memories that last for me. · er foot pattern. If there are Both are characteristic of the ive musicians, the syllables be­ Rina Singha Kathak style whose subtleties ome an exchange between dan- Rina captures so instinctively. ce r and tabla player, with each ing slowly backwards while another rime and place, in However, she belongs to an artist trying to fit a more elabor­ touching her right hand to her sequences of swivelling foot older school of Kathak, one ate pattern into the rhythmic forehead seven times. Then it movements which carried her that is no longer current in India cycle. Then both music and was her walk itself that con­ swiftly on a diagonal while her where the trend now is towards dance move towards a climax. veyed the sense of Kathak and upper body suggested feminine more virtuosic and overt per­ In contrast, the expressive the qualities of the women on restraint. formers. It is interesting that ieces tend towards understate­ whom the style was created. A series of different cos­ through living and working in ment. Although they do tell a Introductory remarks explained tumes in vivid colours contri­ Canada she has been able to story, the gestures are not as ex­ that the daily excursion to the buted to the visual impact of retain the lyrical beauty of her pl icit as those of Bharata village well for water was the the presentation. Beginning in Indian arr and guru. We are _ laryam, the style of South only time that women were turquoise, set off with an fortunate to have Rina Singha In dia. allowed out alone. So Rina's orange veil over head and in Canada, and I can only hope From her opening silhouette gait reflected the carriage of a shoulder, Rina changed colours that her next performance against an essentially bare head that could balance a pot as she did moods - from lime draws the larger audience she -cage, Rina sustained a fresh­ of water and emphasized the green, to red, to yellow (a n deserves. ness through the delicacy of her gentle sway that would prevent auspicious colour for spring) rechnique and the charm of her any spillage. She also commun­ and finally to deep purple. ROSEMARY JEANES presence. She began with the icated a sense of the decorum With the fast turns distinctive :raditional Muslim bow, mov- appropriate to women of to Kathak, the long, flowing 24 DA1 CE I , CANADA Royal Winnipeg Ballet floor as the Magician's Manitoba Centennial creatures. Concert Hall The most regrettable part of Winnipeg this Firebird from an artistic 5-9 May 1982 standpoint is the way it wastes Stravinsky's music so often. Diaghilev's selection of the Even Fokine, by all accounts, then relatively unknown Igor had trouble inventing move­ Stravinsky to compose a score ment to equal in beauty the for Fokine's new ballet The luscious sounds invented by Firebird was typical of the great Stravinsky. Nebrada uses it as Russian impresario's genius for he pleases with scant concern picking winners. While Pav­ for its emotional colouration. lova may have considered the Evelyn Hart, creating music too 'difficult' for her to Nebrada's Firebird on opening accept the title role (which thus night, managed to put her glor­ fell to Karsavina) it established ious arms and lithe body to Stravinsky as a major composer good use as she darted about and began what was to be his the stage. Guest artist Zane long and rewarding association Wilson is always a perfect with the ballet. partner and in this instance did Like Diaghilev, Arnold what he could to lend personal­ Spohr also knows how to pick ity to what in Nebrada's hands a winner and thus, when the has become an essentially face­ ti me came for the Royal Win­ less role. David Peregrine made nipeg Ballet to commission a a similar effort the second night new work in honour of the with corps member Julie Whit­ Stravinsky centenary, he went taker stepping in at a late to Vicente Nebrada, a choreo­ moment to replace the ailing grapher with a divine gift for Teresa Bacall as the Firebird. winning audiences over. Nebrada, of course, is no Whatever magic powers the fool. In deciding to create a Venezuelan choreographer may dance entertainment rather possess he certainly knows how than a serious ballet he took to use to full advantage. He what was probably the easiest entranced all but a few in his escape route from a score to Winnipeg audiences and sent which few choreographers have them home content that they come close to doing full justice. had got value for money. His approach is a good deal less The way he did this was to Evel yn H art as The Fireb ird . offensive to the concerned create a Firebird packed full of ballet-lover than say Bejart's theatrical tricks and effects and folkloric roots went deep and used as little more than a pre­ with its gratuitous revolution­ complemented by Astrid Jan­ were brilliantly evoked in Stra­ text for a spectacular ballet ary overtones. son's fantastical costumes and vinsky's score. entertainment in which expres­ And Arnold Spohr, of Tony Tucci's pretty lighting. At Nebrada has retained the sive dancing plays a relatively course, is still less a fool. He times it was hard to tell if this shell of Fokine's scenario but minor role. knows that audiences need was reall y Winnipeg. It seemed has sucked all the life from it. To be sure, there is attractive candy now and then and he's more like Disneyland. There is still an Ivan in pursuit pas de deux work for Ivan and provided them with a family T he original ballet which of a bewitched princess and the the princess or Firebird but the treat that will keep them filling fo rmed the centrepiece of Firebird still helps him defeat ensemble dances are mostly seats for years to come. Diaghilev's 1910 Paris season the nasty Kastchei (demoted by routine and the RWB 's male drew its story from a variety of Nebrada to be a mere 'Magi­ corps spend most of their time MICHAEL CRABB Russ ian fairy tales. The ballet's cian') bur reall y the story is on stage squirming around the

director MARGO PERRY performances classes in: St-ud 10 ballet master master classes ballet RICHARD contemporary 103 SUGARMAN (6450 Gil p,n St Burr.Oby BC VSG 2J3 ) jazz student/teacher shape-up The Professional's workshops Dance Studio for information call (416) 968-7 050

6450 GILPIN ST. CONTACT 1 03 Bellevue BURNABY, B.C. V5G 2J3 MAURYNE ALLAN - Artistic Director Toronto, Ont. M ST 2N8 (604) 299·3210 MARGARET FLEMING - Manager DANSE AU CANADA 25 Kinesis Dance thing to communicate, but be­ would serve him well. The merer of the stage, hit the aud­ University College Playhouse cause he wanted, in the same week as Players, Please ience like a gust of breathtaking Toronto dilettante's tradition, to dress commanded the tiny UC Play­ summer wind. Ferguson's 19-21 May 1982 up and play choreographer. house stage, the professional Night Vapours, following in If, as his concert failed to wing of The School of the Tor­ the grand tradition of her Probably the most important make clear, there is lurking onto Dance Theatre presented Nothing for Something and quality of creative expression is within him something burning its spring choreographic work­ Descending, offered a wacky, urgency. Nor to be confused to find its way our in the form shop at the company's Win­ off-centre view of a sleeping ~irh simple vitality or force­ of a dance, then I suspect that chester Street home under the couple's Wagnerian visions. :'ul ness, urgency in a work of it will stem from his Greek guidance of then principal Amusingly performed by a nim­ art signifies inevitability, point­ roots. In several of his earlier Christel Wallin and composi­ ble, night-capped Russell Kilde ng to a clear path of commun- efforts (presented mostly on tion reacher Patricia Beatty. and a dizzy Billyann Balay, arion between the artist and Pavlychenko Workshop pro­ There was no comparison what­ with the mysterious assistance nis Muse and to the artist's grams), Terezakis has pro­ soever between this workshop of William Hurst as a derelict -ecognirion that his relation­ claimed his national heritage in and its 'competition'. On the spirit of the night decorating ·hip to his art, to the musr-be­ the use of Greek themes (he level of craft alone, the dances the stage from his meagre and said, is a submissive one. once dared to make a Clytem­ shown demonstrated care, tacky supply of tinfoil moon X'irhout this quality, creative nestra ballet) and Greek music. focus, clarity of purpose. More and stars, Night Vap ours asain f'.x pression becomes a pale, cool Although inept as exercises in than chis, each work revealed a provided welcome relief. Can :f not cold) exercise of the con­ craft and self-conscious to a distinctive personalty that sug­ Ferguson and Cash be content ,cious mind. Not even brilliant fault, these works at least pos­ gested these young artists are with such a role however? Bril­ -rafrsmanship can compensate sessed some identity. Now that already working from within. liant though their work may be ·or its absence. Urgency, on the he has 'adopted' a more eclectic More's the pity that Paras in contrast to that shown by rh er hand, can occasionally ballet-moderne style (which Terezakis was unable to see Paras Terezakis, they were non­ escue, even lend greatness to a incorporates liberal misquotes these dances: he could have etheless swallowed up in the ,·ork of indifferent from Lar Lubovirch and other learned much. unhappy memory of the whole ::ra ftsmanship. American contempra-choreo­ Appearing as guests on the evening and hence deliberately Unfortunately, no such evi­ graphers), this identity has been Players, Please program were pushed out of mind. :lence of creative urgency glim­ sacrificed. In May, it was left dances by Susan Cash and Nan­ mered in Paras Terezakis' May up to pianist Peter Krias co cy Ferguson. Cash's solo for GRAHAM JACKSON :oncert, no spark seduced the remind us of Terezakis' back­ self, Primal Purge, a fast, fre­ .rndience away from the awe- ground in a medley of Greek netic little gallop along the peri- me lack of craft his dances songs by Theodorakis and oth­ , anifesred. Embarrassed as I ers and to that glorious poet ,·as by the poverty of his chor­ Constantine Cavafy whose - raphic vocabulary - his ap­ work was tossed, like so many ~roach to movement more near- eggs, into the jumble of a text . resembles that of an arranger char Terezakis himself devised f photograhic still lifes than a for Players, Please. Ocher than : oreographer - most of what I this little help from his compa­ ·icnessed prompted me to ask triots, only the dark duet The -yself one silent question over Last Temptation (which I pre­ m d over: ' Why is this being sume is a reference co the _one?' The answers were var- Kazanzakis novel of the same us and ranged in tone from name) gave even the slightest .mgry - embarrassment fre- hint of where the Muse of DANCE _u ently elicits anger from me - Paras Terezakis might best lead : pitying. By the time the him. hrs had dimmed on the even- Should Terezakis clear the de­ SUMMER/FALL '82 ~ 's last and longest work, bris from his path and find him­ .:zyers, Please, I concluded that self with something co com­ Terezakis had put his concert to­ municate, then some schooling FEATURING: :e her, not because he had any- in choreographic composition • Honours degree programs, B.A. or B.F.A. • Unique courses in ballet and contemporary dance, history, criticism, dance therapy, teaching, notation, LONDON composition, repertory Academy of Dance and Theatre Arts • Graduate Studies (Master of Fine Arts) in dance history and criticism

Memhe r • Intensive SUMMER studio dance classes in bal e·. RO\·a l /\cademy contemporary and jazz, JULY 5-AUGUST 13 crec: or Danci ng. and non-credit) lm r eri; li Societ,·. • International roster of renowned dancers an a~::e Canad i,1n Dance instructors Tc.1cher, Res id ential F.ll ./\.T .D Summer School at i\ 1111 ;1 College .I uh· For further inlormationl:ontact: TRAl\1'.'1:C TO PROFESSIONAL STA~OARO BY IIICIILY Room 240, Faculty of Fine Arts. York Urnvers,ty QlALIFll·:O STAFF 4700 Keele Street. Downsv,ew. Ontario. Canada M3J 1P3 Telephone (416) 667-3243 ..:. 32 Waterloo Street London. Ont. :w, B 2P 2 (5 I 9) 439-8961 26 DA CANADA Gala A stage manager pleads over National Film Board the intercom with the un­ 1982 known thief of a pair of scis­ sors to return them to ward­ There is very little in this world robe. Celia Franca, impressively that cannot be made better by costumed as Lady Capulet, is the injection of a little humour often seen backstage shedding and it is a keen understanding calm and encouragement wher­ of this important principle ever her regal progress takes w hich has allowed John N. her. Smith and Michael McKenni­ The actual dancing thus be­ re y, the directors of Gala, to comes part of a total theatrical turn what could easil y have process but we can still enjoy it been a routine film into one as dancing. Occasionally a that sparkles. Whether it is camera goes out of focus or a Veronica Tennant beating a re­ dancer jumps unexpectedly out sistant toe-shoe into submis­ of a frame but, overall, the sion, Celia Franca trying to de­ NFB's cameramen have done a flect Evel yn Hart's sweaty wonderful job. T hey take us embraces by the thoughtful right into the middle of the offer of a peppermint or a wor­ swirling Our Waltzes (Royal ried Arnold Spohr nervousl y Winnipeg Ballet) and their pro­ massaging hi s ear, Smith and nounced taste for close-ups, at McKennirey consistently tem­ times an irritation, does won­ per their obvious respect for the ders for the ballroom scene of art of dance with a delightful Romeo and Juliet (the National sensitivity to its human Ballet) - what acting! dimensions. Gala, which has already been Gala is, of course, the film seen in most of Canada's major that nobody planned - the cities (a lthough, unfortunately heroic result of two day's fren­ not always with its full Dolby stereo soundtrack) is a splendid zied labour when the National Veronica Tennant prepares for Gala Film Board stepped in to rescue record of an important event the CAPD0 Dance Spectacular audiences would get to enjoy sary by extraordinary circum­ but its significance goes much from the threat of historic the unprecedented mass gather­ stances and the finished pro­ further. Its availability in extinction. An important part in g of so many of the country's duct more than justifies the 16mm format or on vi deo cas­ of the original CAPD0 project, leading dancers . expense since Gala is a splendid sette w ill all ow it to reach which brought eight of Cana­ The NFB's rescue mission film, full of the atmosphere of many different kinds of aud­ da's leading dance co mpanies was epic in scale: fevered con­ a once li ve event and brimming iences acting, in the process, as to Ottawa in May, 1981, was tract negoti ations, the setting over with vitality. a va luable ambassador for the opportunity it presented to up of equipment and assem­ The directors decided, wise­ dance in general and Canadian reach beyond the National Arts bling of crews, a complete re­ ly, on a documentary approach. dance in particular. A li ve tele­ Centre's sumptuous Opera vamping of Nicholas Cerno­ They want us to get a sense of cast of rhe CAPD0 Dance Spec­ House to the much larger vitch 's existing li ghting plot - the occasion, to en joy the dan­ tacul ar would have had certain potential audience of television and then the actual shoot. cing but also to appreciate the immediate advantages but, per­ viewers across the country. With no rehearsal time to plan often unglamorous backstage haps, in the long run, the poten­ Veteran CBC television pro­ shots, the Film Board decided world of messy dressing-rooms tiall y lethal NABET strike was ducer Norman Campbell, who on a celluloid blitz - 75,000 and edgy performers. Cynthia the best thing that ever hap­ produced the CA PD0 show, feet of 35mm color stock fed Scott directed the two cameras pened to Canadian dance. had mustered his most tried through seven cameras running at work backstage and the KEVIN SINGEN and trusted technical collabora­ simultaneously and continu­ fruits of her labour provide tors for a proposed li ve telecast ously. Since the finished film is some of Gala's best moments. (A review of the CA PDO Dance but hi s dreams were snuffed only 90 minutes in length the T here's Brian Macdonald try­ Spectacular appeared in Dance our by a strike of CBC engi­ out-takes must have piled up ing to stay as cool as a cucum­ in Canada, issue number 29, neers and technici ans. neck deep in the editing room. ber as he struggles w ith the Fall 1981. Gala will be For a while, it seemed that It was certainly a wasteful logistics of a 95-dancer finale screened on the CBC, September only Ottawa's privileged approach but one made neces- (ro music from Delibes' Sylvia ). 9.)

2205, 700 - 9th Street S. W ., Calgary, Alberta, Canada T2P 285 :t SUN·ERGOS '-4/t a company of theatre and dance ~ j · Robert Greenwood and Dana Luebke (403) 264-4621 DANSE AU CANADA 27 New York City Ballet name?' Music visualizations' means slim pickings, Already in Sixteen dancers in ice-blue Stravinsky Festival might fit if Ruth St. Denis the press Mr. B. said that cer­ bodystockings designated as hadn't used that term to des­ tain scores such as Les Noces Builders of the Ark, come in , Y State Theater cribe her own improvisations. are simply undanceable, ther­ briefly to provide the few 10-18 June 1982 City Baller could never be that eby disqualifying choreographic moments of ensemble dancing casual. 'Classical Dancing' masterpieces created in 1923 by the work requires, and in the Each summer I leave New York might be more appropriate. Bronia Nijinska and in 1965 by finale supers in black leotards with the conviction that the This is certainly what they do, Jerome Robbins. For his big stroll across the stage wheeling New York City Ballet has suc­ and it seems for the most part pieces this year he settled for huge two-dimensional cut-outs cumbed to some serious illness. that i e's all they're interested in two cantatas involving choruses of the various animal couples. Pernicious anemia perhaps or, doing, whether the musical and spoken texts. One is a mus­ During Noah the New York better yet, anorexia nervosa, a impulse be Gluck, Glinka or ical gem, the other a turkey. City Opera Chorus remains truly balletic malady. Each year Gorcschalk. They do this in Persephone, however great unseen. In Persephone its I return expecting a recovery. their matchless, impeccable musically, has never had a suc­ members are planted in their But now I'm obliged to accept way to fine music, played cessful ballet treatment, while pink robes and cowls in two­ the simple fact that both the superbly by one of the world's N oah and the Flood, devised in tiered flower boxes at either company's critics and the vast great ballet orchestras. New 1962 for CBS Television, went side of the stage. Design super­ new audience it has spawned York critics and audiences con­ belly up on the networks and visor Kermit Love has flooded over the years like its ballerinas tinue to come back for more of hasn't been heard of since. the plastic tubing with rosy and ballers lean, spare, and the same, and if the ballets all The celebrated tribute to the light and bedecked the stage bloodless. As to repertory, look alike to the visitor, just plastics industry known as the with voluptuous raspberry ballers with story lines are remember that among the Ice Palace which was commis­ draperies. Before these and going fast, and narrative ele­ Eskimos above the dew line sioned at great expense last year between the boxed choruses, ments are considered irrespon- there are 17 different words for to serve as an all-purpose set for Vera Zorina, looking nifty for ible and excessive. Like malig­ snow. the Tchaikovsky festival was her age in a floral peignoir and nancies or extra pounds, they 1982 is the 100th anniver­ reinstated. In the biblical piece fully wired for sound, beauti­ must be pared ;way in places sary of Igor Stravinsky's birth; Rouben Ter-Artunian has fully enunciated Andre Gide's where they may still be some­ which calls for a party. Not a embellished it with some glitzy text and played with space like what obvious. big one like the 1972 Stra­ ecclesiastical imagery and a mature thespian. When more Perhaps George Balanchine vinsky Festival, which had 20 bathed it in pleasant gold light. demanding ballet work was and his colleagues have indeed new pieces and several revivals, The dancers playing Noah and required, a look-alike (Karin invented a whole new genre of but a mini-festival featuring a family wear huge heads and von Aroldingen) slipped in to theatre, which has really very number of works in the active heavy robes, which naturally do the necessaries. As Eumol­ li ttle to do with ballet. Or, at or near-active rep. To fill out a limit their ability to do much pus, baritone Joseph Evans leas t, the kind of ballet which week of 10 performances, add a moving. Adam Luders and wore a brilliant cardinal red was being performed by Ameri­ handful of tryouts to those Nina Fedorova, protraying cassock and strolled at ri ght can Ballet Theatre, the Royal lesser known scores which Adam and Eve, wear flesh­ stage or stood on hi s pedestal. Danes and Eliot Feld's com­ either failed the first time colored tights and shiny gold From time to time, dancers pany concurrently with the around as ballet adjuncts, or to fig leaves where they matter. with drapes filled the spaces City Ballet's spring season. those which miraculously have And, like respectable music hall with movements not di ss imil ar hould the goings-on at the escaped the choreographer's nudes, they refrain from any from those which the ark tare Theatre be given another scheme to date. In 1982 that conspicuous navigation. builders performed in Noah ,

Geo rge Banalchine's Noah and the Flood: New York City Ballet CANADA representing in this case looking at the stage. (On the nymphs or shades of the previous evening Glen Tetley's underworld. Mel Tomlinson trashing of The Firebird for the came in for a spell to portray a Royal Danes who performed most sinister Pluto, and in a across the plaza at the Met, had brief appearance as Mercury convinced me that many ballets tiny Gen Horiuchi did some indeed are better heard than swift albeit inconsequential seen.) The rest of the celebra­ dancing at a pace which only tion involved a variety of made the rest of the production oddball scores and the kind of the store for seem even more tedious. dance exercises that Balanchine, These were the biggies. In Robbins, Martins, Taras and every festival the company is d' Amboise can put together in allowed a helping or two of the space of a few weeks' time totally indigestable pastry after drawing lots. The 'hit' of before reverting to its normal the season was Peter Martin's program of ascetic fare. The ballet to the Concerto for Two 1980 version of Apollo best Solo Pianos, played flabbily exemplifies the company's cur­ and without the percussive bite rent policy regarding its own it has on my recording. The classics, demonstrating a prun­ two pianists are on stage Workouts ing process which has been (where else?) and the ensemble on Bellair at going on for 54 years. Called performs in the remaining 82 Bloor St. West Apol/on Musagete in 1928, space. lb Andersen and Jock Toronto, Ontario Balanchine had already settled Soto are soloists in a sort of Canada M5S 1 L9 for three rather than nine sex-changed Kammermusik (416) 921-9610 muses. In 1944 he revived it for (which invariably strikes me as ABT, using only makeshift a parody of Concerto Barocco ). Sherway Gardens Oakville Place scenic props and shortening the Does this company never tire of 25 The West Mall 240 Leighland Avenue name. Restored for City Ballet pirating its own repertory? I Sherway Gardens Oakville, Ontario in 1951, it was danced in prac­ guess not: Robbins' Four Etobicoke, Ontario Canada L6H 3H6 tice clothes, a skeletal platform Chamber Pieces (which actu­ Canada M9C 1B8 (416) 844-4909 replacing the mountain on ally consists of five - can't he (416) 626-6412 which Apollo's mother sits. In count?) has quotes from and this version, created for parodies of his own ballets and Baryshnikov, the stage trap­ those of several colleagues. The pings have been reduced to a amorphous Septet makes dull kitchen stool and three plastic dance fare, but the Concertina cut-outs representing the tokens for 12 Instruments inspires an of the muses' respective trades. unnerving trio for Sean Lavery, Missing is the opening scene, Mel Tomlinson and Merrill which involves seven minutes Ashley. The seven-minute Rag­ of Stravinsky's finest music. time for 11 Instruments was How he woi.dd have bitched if the only work I saw which he were alive! Gone also are the inspired healthy laughter, cap­ birth scene and the breathtak­ turing as it does a sense of the ing pirouette which releases the ridiculous in popular dance of young god from his swaddling the kind which Ashton cele­ clothes, as well as mother and brated in Fa r,;ade. Peter Mar­ the two attendants who tin's effort to the Piano Rag unwrap him. At a panel on his­ Music demonstrated no belief torical revivals given to the in that genre, nor did Balan­ Dance Critics Association on chine's Tango for von Aroldin­ the week of the Stravinsky gen and Christopher d' Am­ celebration, Alexandra Danil­ boise. As for his latest ova, who had been the original reworking of Elegie, first cho­ 1 }9111pM1i1111 ( )9111/tMilllll Terpsichore in the 1928 pro­ reographed as a duet for two duction, was asked to comment women in 1944, it's now a solo Dansts dassiquts dt l'lndt about the truncated ballet. ' Ve for Suzanne Farrell, who shares (tradition et experimentation) moost not be nawstalgique the stage with the violinist. In a PROGRAMME about past', crooned the the few moments it takes to Vendred1. le 24 septembre l'Universlte du Ou8bec a Montreal (Metro Bem-Demon1,0ny ) d e 19 h 00 a 22 h 30 legendary assoluta, thus endors­ perform, Farrell spends some INSCRIPTIONSJOUVERTUAE I SPECTACLES ing this fragment as the version time on her knee, ultimately Samed1. le 25 sep1embre les 24, 25 et 26 septembre 1982 d e 09h30 a 16h30 de 20h00 a 23h00 which is on its way to becom­ rising to an upright position. CCt-E"EAENCESIATELIERS SPfCTACLE$ ing the only one wh ich Balan­ Minimalism at its Balanchi­ Les spectacles se donnent a Dimanche. le 26 sep1embre de 10 h00 813 h 00 nian most. It makes you la salle Alfred Laliberte ATEUERS IFERMETUAE chine may permit other com­

en collaboration ave c panies to perform. wonder who will go in the next p~. 1e Regovoe ment Tnea1r e et Danse ae 1 Well, with Apollo cut down baller he does to this score - the Kf1lR BfiARATI llf Unl~ar•116 du Quebec• Montreal to size, Persephone certainly violinist or the ballerina? La Fondat,on KALA &HARATI

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The fruits of an important change in the Banff Centre's dance summer school were put on general view in July. Under its new head, Brian Macdo­ nald, the Banff program has drawn a long overdue distinc­ tion between performance and training. In previous years, all summer students were treated as one body. From their ranks were chosen the casts for the Banff Festival. The end result Stephanie Ballard's 1982 Lee Choreography Award-winning ballet, Light Failing in performance was often uneven and students who had Well, there must have been a mauve tunics for the men and member performance class had come, essentially, to develop change of heart somewhere loose tops and pants for the come in little more than four their technique, found them­ since Stephanie Ballard - this women. Occasional hints of weeks - a long way. They selves exhausted and distracted year's Lee winner - had her folk music in the generally looked like a company whose by rehearsals. new work, Light Failing, right mindless Vangelis score under­ members had been used to Now, although the training there in the thick of it. lined the atmosphere of a working together for at least a classes do work towards a series In some ways it was a mis­ romanticised pastoral idyll. full season and were able to of workshop performances, take. Light Failing, with its The less said about Laura place their own stamp on each those who want technique first taped Vangelis (Chariots of Alonso's staging of the Don work - the unmistakable marks and foremost get it. More sea­ Fire) Papathanassiou score and Quixote pas de deux the better. of youthful energy and do-or­ soned dancers, by contrast, are distinctly different, almost Tastes will differ - and, any­ die resolution. The results were able to focus their attention on elegaic mood did not sit well way, the audience loved it! irresistible. a concentrated four-week pro­ beside the upbeat frivolities of Macdonald's Aimez-Vous fessional performance course Don Quixote and Pineapple Bach? and Cranko's Pineapple MICHAEL CRABB culminating in the Festival Poll. Also, it looked more like Poll were just the right ballets shows. Under Macdonald's a work in progress than a fin­ to demonstrate how far the 28- master-plan, each year a core of ished statement. working professionals will be Ballard's intentions never Announcing joined by aspiring professional became clear. Her own pro­ dancers to make up the perfor­ gram note was little help. - mance division classes. This 'Often when people meet on THE 1983 LEE CHOREOGRAPHY AWARD year, it was the Alberta Ballet mutual ground, natural patt­ Company's turn to be profes­ erns evolve and ritual is estab­ sionals in residence. lished. Sometimes it's best to The Clifford E. Lee Foundation, in cooperation with The There was no mistaking the simply let things be and accept Banff Centre School of Fine Arts will again be offering the annual award established in 1978 to encourage the advantages of Banff's revamped light failing.' development of Canadian choreography. dance program. The overall Metaphysical hints? Per­ As part of The Banff Centre's 50th Anniversary celebra­ quality of the Festival perfor­ haps. As the dancers make their tions the Lee Award will be increased from $3,000 to mances was always respectable initial solemn processional $5,000, plus travel and in-residence expenses to enable and often excellent. The special entry you feel sure some ritual the successful cnadidate to spend approxim ately six weeks at The Banff Centre during July/ August 1983. magic of the Banff environ­ is about to be enacted. Then Working with advanced students and professional dan­ ment seems to add its own however, the ballet loses its cers, and using the production and staging facilities of influence to the more tangible direction. An almost celebra­ The School, the award winner will prepare a new work effects of good, concentrated tory ensemble dance for the five for presentation as part of the annual Banff Festival of the Arts Dance Production. The 1983 Dance Production instruction. Dancers fly high on couples ensues. The mood then will also showcase two other original works commissi­ the heady mountain air. shifts back into melancholy oned from Brian Macdonald and Eva von Gencsy. It will The program was chosen to gear before the lead couple indeed be a celebration which we hope will encourage give the dancers work within dance a charming pas de deux Lee Award submissions from leading choreographers all across Canada. their capabilities: Macdonald's that ends the work. Light Failing gave few clues Submissions to be made not later than December 31, Aimez-Vous Bach?, a Don 1982. Final selection to be announced March 31 , 1983. Quixote pas de deux and an about the nature of the rela­ Submissions will be adjudicated on the basis of existing excell ent staging by Reid And­ tionships between the dancers works, supporting references, together with proposals erson of John Cranko's comic and certainly none about the for a new work to be premiered as part of The Banff Fes­ classic, Pineapple Poll. choreographer's overall tival Dance Presentation. When Brian Macdonald conception. made his swing across Canada It was a pretty ballet, beauti­ For Application Forms and further details write: to announce the revitalized fully lit by Peter McKinnon. Ken Madsen, Lee Choreography Award Committee Banff summer dance program Until the lead couple appear at The Banff Centre the fate of the Lee Choreo­ the end in body tights the P.O. Box 1020, Banff, Alberta TOL OCO graphy Award seemed up in the baller's costuming suggests air. It would not, he said, be some pastoral haven o f nymphs part of the summer festival. and sheperds - short gauzy DANSE AU CANADA 31

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De Basil's Ballets Russes, chronology of the various splin­ by Katherine Sorley Walker ters, mergers, ass imilations of (General Publishing, other performing groups, legal 1982. $25.00) transactions (the de Basil com­ The One and Only: The Ballet pany was perpetually in the Russe de Monte Carlo, courts), changes in name (de by Jack Anderson Basil's group and its offshoots (Dance Horizons , had a dozen variant titles) and 1981. us $25.00) shifting loya lties of the dancers and choreographers (Balan­ In North America we take chine, Massine, Fokine and delight in traci ng our baller Nijinska worked with both roots to remote eras and exotic groups over the years but rarely places, often failing to confront in tandem ). Each company did the enormous contributions of have the continuity of a single our natural parents. Shelves of Russian-born director who books exist for us on an impe­ functioned under a bizarre rial Russian ballet whi ch we pseudonym. never saw and on the fabled The de Basil company was Diaghilev Ballets Russes which the original or 'parent' troupe, made one transcontinental tour organized in 1931 by Rene during the First World War. In Blum, who managed the opera 1933, during Christmas week, theatre in Monte Carlo where an optimistic impresario the Diaghilev Ballet had an named Sol Hurok imported ongoing performance and from Monte Carlo the first ofa rehearsal residency. Colonel pair of companies which would Wassily de Basil, who co­ tour the United States and directed a company of Russian Canada over the next three opera and ballet performers, decades, bringing a fresh new joined forces with Blum and brand of Franco-Russian ballet engaged Leonide Massine, who to audiences in more than a had just bought up the scat­ hundred communities. It was tered properties of the Diagh­ these companies whi ch would Mi a Slavenska and Igor Youskevirch in Cama1 •al: The Ball er Russe de Monte Ca rl o ilev repertory, as resident cho­ initiate a ballet establishment reographer. T hi s trio would in two countries that had Dance Coll ection, an impos in g ful patron of all subsequent vis­ quarrel continuously over artis­ remained suspicious of culture program of publishing which its. Both show immense affec­ tic and internal political issues, in general and of ballet in par­ folded three yea rs ago, leaving tion for the work of the and in 1938 Massine left to ticular, and it was these which both authors with the task of compani es and thei r personnel form the second company, enticed millions of curious findi ng new publishers. Lucky and have conducted their which would be financed by viewers back to the theatre each for us, they did! Together the research with contagious fasci ­ American interests, direc ted by year to accept and celebrate, books provide a long awaited nation, travelling thousands of a Russ ian ex-banker named cherish, participate in , and document of one of the most miles, pouring over documents Sergei Denham, and utilize the ultimatel y assimilate a genre of fascinating eras in dance hi story and company records, inter­ service of several luminaries theatrical dancing known as and one which is close to our viewing former Ballet Russe pirated away from de Basil 's ballet russe. present times. members now li ving in various concern. Since every ballet organi za­ Both authors had the benefit parts of the world, watching The parent company toured tion on the continent owes its of first-hand observation of acres of filmed records of per­ North America from 1933 existence primarily to the Baller their respective subjects. Sorley formances, gathering and sift­ through 1937 and made trium­ Russe in vasion during the Walker has 'sketchy juvenile ing their informati on, impres­ phant appearances in Australi a Depression years, it is indeed memories' of the legendary sions and the great bounty of before returning for a final odd that so little current 1938 and 1939 Covent Garden funny and provocative anec­ wartime tour in 1940 and information has been ava il able seasons by the de Basil troupe dotes that were shared, and 1941, after which the company until the recent appearance of and calls upon more mature documenting their findings made Buenos Aires its nominal these two remarkable company impressions acquired during its with awesome, fa stidious headquarters and performed hi stories. return after the war. Anderson scholarship. throughout Latin America. It They were ori gin all y saw the Ba ll er Russe de Monte Ba llet Russe hi story is was last seen here in a disap­ intended as compani on Carl o in 1950 as a teenager in exceedingly complex, but pointing transcontinental tour volumes in Marcel Dekker's M il waukee and became a fa ith- between authors we get a clear for the 1946/ 1947 season. The DANSE AU CANADA 33 Denham group had assumed Torre Bueno Prize, deals with a The Unmaking of a Dancer: An tossed in to provide some the covered Hurok touring cir­ company which had but one Unconventional Life, by Joan weight for a breezy introduc­ cuit in 1938 and continued to yea r of significant appearances Brady. (F itzhenry and White­ tion to a huge topic. Sharp and perform with and without his in Europe before settling in as side, 1982. $16.95) sensitive photos by Jack and umbrella until 1962, at which an American institution. Ca­ Linda Vartoogian assist, with rime its personnel consisted nadians such as Audree Tho­ Joan Brady is a nobody who ABT soloists Rebecca Wright almost entirely of dancers born mas, Ian Gibson, Duncan had a singularly unpleasant and George de la Pena posing or trained on this continent. Noble, Robert Lindgren and childhood and who happened for many of the ballet stances. Sorley Walker has in one Patricia Wilde would be assim­ to spend much of it studying way drawn the more interesting ilated into its heritage, and one baller. Now in her forties, she company, in that the de Basil named Arno! Spohr would con­ has decided to make· her par­ Judith Jamison: Aspects of a operation was truly an interna­ template a whole new carreer ents, colleagues and teachers eat Dancer, by Olga Maynard. tional force. The history of its after a single exposure to this crow, and Harper & Row (the (Doubleday, 1982: $22.95) pioneering work in Australia company's art. Of particular American publishers) gave her and in remote and frequently value in the Anderson book are the sanction and the vehicle in The story of Judith Jamison's uncivilized areas of Central and the descriptions and rich ana­ which to do so. Without sug­ career would have made fair South America offers a some­ lyses of the ballets which Leo­ gesting a single positive motive copy for a feature article in what larger scope for the wri­ nide Massine created during his for taking up the arduous study Dancemagazine. Olga May­ ter, not to mention a richer brief tenure between 1938 and of baller in the first place, nard chose instead to put it resource for fascinating human­ 1942, as well as those restored Brady does a downer on just into the framework of a full­ interest data. Her volume con­ from the Diaghilev era. Equally about everyone she encountered length book, one in which the sists of a long chronicle of the fascinating is a section on in the business from San Fran­ professional environments of company's activities - artistic, Balanchine's stint as resident cisco to New York, suggesting the imposing black American commercial, legal , social and choreographer between 1944 that the ballet world is popu­ dancer are discussed at some personal - from its inception to and 1946 and the acknowl­ lated chiefly with phonies and length, offering insights into its final European appearances edgement of those works which morons. While she has issues confronting black in 1952 after de Basil's death. saw light to serve the bodies 'changed the names and details dancers in general and rhe par­ There is a splendid chapter on and temperaments of American about [certain] persons des­ ticular problems they face in rhe Colonel himself, the result dancers. cribed in the book to protect the theatre. There are interest­ of Sorley Walker's extraordi­ The historical significance of their identities', her considera­ ing and frequently gossipy nary research into military his­ two geniuses in choreography is tion does not extend to a accounts of the companies in tory, which comfirms his much given a special focus as their number of prominent dancers which Jamison has performed: debated rank in the Tsar's Cos­ works and philosophies are and teachers, whom she ridic­ the Alvin Ailey Dance Theatre sacks. A whole chapter is revealed for our comparison. ules shamelessly, dwelling in a the Harkness Baller, and John devoted to the Australian visits The balance of the book deals tasteless manner on their physi­ Neumeier's H amburg Baller, between 1936 and 1940 (t he with life in the company, the cal shortcomings and defects. among others. To fill our 286 first by a pilot company of eccentricities of the parsimon­ Several others who were pro­ pages, Maynard pads outrage­ green dancers, hastily organized ious Denham (who often vided with pseudonyms will ously and frequently backtracks and trained in three weeks dur­ ordered the curtain to be doubtless be identified in the and repeats herself. Jamison's ing a busy Covent Garden sea­ lowered in the middle of any circles where they functioned. brief guest appearance with son and dispatched to represent ballet still being performed Brady's personal history American Ballet Theatre in Ballet Russe in the Antipodes). after the 11:30 union deadline) would make more appropriate Agnes de Mille's The Four A chapter called The Baby Bal­ and the various colorful staff fare in a psychiatric journal, Marys, for example, calls for a lerinas deals not only with the members who assisted in perpe­ and her vindictive observations seven-page history of the com­ three darling Russian teenagers tuating the Ballet Russe dream and coarse pronouncrnents may pany itself, while an entire (Baronova, Toumanova and - perhaps too long after it had have some interest to those in chapter on the Harkness Baller Riabouchinska) who were wor­ actually faded. Like Sorley the legal field who deal with is offered as background for her shipped on four continents but Walker's book, Anderson's defamation cases. fitful association with that introduces other adolescents contains complete lists of the group. Six short chapters who exemplify the company's company's repertory, a roster of involving her personal life con­ realization of the public's dancers who appeared with the How to Look at Dance, tain the kind of material soli­ attraction for yo uth. Among organization over its lifetime by Walter Terry. (Morrow, cited at media interviews and these are the 14-year-old Sono and a splendid bibliography. 1982. $12.95) do little for the dancer's image, Osato from Chicago, the Can­ Readers may have trouble which Maynard seems hope­ adians, Rosemary Deveson and finding the Anderson book in Walter Terry has probably done lessly unable to endow with Par Meyers (a uditioned in Van­ Canadian bookstores, as Dance more than any other dance any vitality. couver and granted contracts in Horizons does nor have a Ca­ critic to enthuse the public 1938), the charming Moulin nadian distributor. The book about his favouri re interest. sisters from the studios of the may be specially ordered from Now almost seventy years old, A Ballerina Prepar Maryinsky ballerinas in Paris, the publisher or through a local Terry offers his 20th book, the Baller Yariarions and yo ung April Orlich, who retailer. Sorley Walker's book latest in a cluster of propa­ Dancer, was discovered in Buenos Aires. was scheduled for a July release ganda works designed to win 1orared 6,- .- A brilliant chapter on the sig­ in Canada bv General Publish­ new converts to dance- (Doubled;y. l nificance and influence of the ing in Toron.to. Both vo lumes wa tching. Starting with the de Basil company demonstrates will have immense appeal to ever appealing association of Oral tradition has been·· e its great effect as an inspiration the scholar, the nostalgic and to dance with athletics, he goes on primary mean for rhe rran - and a model for the develop­ anyone wanting to know why to examine issues of message, mission of cla ical baller cho­ ment of national and regional we have baller in our commun­ meaning and style in the baller, reography, bur Laurencia Klaja ballets in every nation where it ities today. modern and contemporary offers in this volume full doc­ performed. dance, ethnic performance and umentation for performance of Jack Anderson's book, LELAND WI DREICH popular show-business fare. 14 great variati ons for the bal­ which won the 1980 de la The odd scrap of hi story is lerina as recalled and taught by 34 DANCE I CANADA Maryinsky-rrained Ludmilla Schollar and Anatole Vi lzak. Using chiefly verbal and pictor­ ial directions, Klaja bypasses standard notation practices and calls upon diagrams only to show the dancer's relation to the performing space. Included are major solos from Coppelia and Raymonda, the Waltz vari­ ation from Sylvia, Dance of the Sugar Plum Fairy from Nut­ cracker, the Swan Queen's second act variation and coda from Swan Lake and various solos from the third act of Sleeping Beauty. Klaja refers to published scores of baller music containing the variations and recommends certain sound recordings which are particu­ larly authentic in tempi. A gen­ erous gallery of photos show the finished product on the stage, as performed by a bevy of great ballerinas, past and present.

Next Week, Swan Lake: Reflections on Dance and Dances, by Selma Jeanne Cohen. (Wes­ leyan University Press, 1982. $17.95)

Swan Lake was a theatrical Galina Samsova and Dav id Ashmole in Peter Wright's 1981 production of Sl{'cl/1 Lake for The Sadler's Well s Roval Baller. failure at its premiere in 1877, but it survives, miraculously, and elsewhere. Significant and serious drive to acquire dance acquired. To meet ocher needs, despite innumerable alterations whimsical illustrations add literature, the authors have sur­ the authors have included an to its libretto, musical score, piquancy to her stimulating veyed the holdings in both gen­ excell ent compilation of basic choreography, scenic concepts, thesis. eral public and university dance reference books and an interpretation and perfor­ library collections and those in up-to-dare li st of all post­ mance. In using this most special institutions and pro­ secondary centres offering revered example of classical Dance Resources in Canadian grams serving theatre arts inter­ dance education in Canada. A ballet as a point of reference, Libraries, by Clifford Collier ests exclusively. The scope of by-product of their research is dance historian Cohen explores and Pierre Guilmette. each of the major dance collec­ the suggestion that the scat­ the issues of theatrical move­ (National Library of Canada, tions across Canada is described tered dance resources-many of ment and its significance and 1982. $17.50) in some derail, and conditions them improperly housed or meaning, of virtuousity and the of public access are noted. A inadequately indexed-would quality of grace, in her own This remarkable bilingual pub­ statistical summary indicates a serve Canada's growing re­ search for the essence of the li cation has a number of values rough volume count in the var­ search force in dance if pre­ work. These six short essays for both casual and scholarly ious media held by smaller served in an urgently needed reveal Cohen's awesome grasp users of Canadian library Canadian libraries. There is a central archive of Canadian of history and remarkable resources on the dance. With splendid union list of dance dance. powers of observation of cur­ 1960 established as the date serials held and a list of avail­ rent trends and mores in dance that saw the beginnings of a able foreign serials yet to be LELAND WINDREICH

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Alexander Grant, artistic direc­ from among the ranks of inter­ tor of the National Ballet of nationally known choreo­ Canada since July 1, 1976, is to graphers, Rudi van Dantzig or, leave the company on June 30, perhaps, Roland Petit who has 1983. His existing contract was worked extensively in his exist­ due to expire a year later but in ing company with Karen Kain. a dramatic move, on June 29, Celia Franca, the National's Andre Galipeault, chairman of founder and artistic director the National's board of direc­ until 1974, expressed shock at tors, announced that it had Grant's dismissal (he will in been decided to end Grant's fact still be at work in the contract a year early. He told a company until July, 1983) and packed meeting of the com­ called the job, ' impossible'. 'I pany's dancers that it was time would not wish it on my worst for ' fresh blood and new leader­ enemy!' ship' but in later comments to the press refused to be drawn The 10th Annual Dance in on specific points concerning Canada Conference, held for possible reasons for Grant's the first time in Ottawa from dismissal. June 23 to 27, drew well over Peter Schaufuss and Jennifer Pen nev in Kenneth MacMillan's Orpheus. Despite· his achievements in 400 delegates to the nation's promoting younger artists the news while acting as Cana­ successor and, according to capital for what proved to be within the company, fostering dian representative on the team Andre Galipeault, its terms of an exhausting but fulfill ing its choreographers and adding of judges at the International reference are w ide-ranging-a five-day marathon of classes, significantly to its repertoire, Ballet Competition in Jackson, hint that the whole structure of panels, workshops, forums-and, Alexander Grant has come Mississippi, declined the option leadership and even the artistic of course, performances. The under increasing fire for failing of resigning, preferring it to be profile of the National Ballet festival of dance, which has to offer the kind of strong, known that the board wished are under review. become an established feature visionary leadership that would him to leave. He spoke out Within minutes of the of Dance in Canada conferen­ bolster the dancers' much pub- against their action, defending announcement, the well-oiled ces, this year included almost 1icized flagging morale. Several his own policies and reminding rumour mill of Canada's dance 80 different items in 15 separ­ important dancers have left the interviewers of the recent suc­ world began turning. T here has ate programs spread across four company in the past year and, cesses of his dancers and the already been speculation about different stages! most recently, Karen Kain international acclaim earned an appointment from within As Toronto Star dance and spoke out against Grant's direc­ for the company by its new the company-Peter Schaufuss music critic William Littler torship in an interview with the production, (by Peter Schau­ or the National's senior baller­ observed, the quality of these Toronto Globe and Mail's fuss ), of Napoli. ina, Veronica Tennant-while performances reflected a gen­ dance critic, Stephen Godfrey. A search committee is other rumours hover over the eral growth of professionalism Grant himself, who was told already at work to find Grant's likelihood of an appointment among Canadian dancers and DANSE AU CANADA 37

praise but much to scorn. dian tour this fall with appear­ Before the conference started, ances in Toronto (Oct. 11-15), Danny Grossman had pulled Ottawa (Oct. 18-19), Monr­ his company from its favoured real (Oct. 20-23), Drummond­ spot on the Saturday night line­ ville, Quebec (Oct. 25 ), up for the National Arts Cen­ Quebec City (Oct. 26), Sher­ tre's Theatre show and, late in brooke, Quebec (Oct. 27), the day, Le Groupe de la Place Banff (Oct. 29-30), Edmonton Royale and Danielle Leveille (Nov. 1-2) and Vancouver London Contemporary Dance Theatre in Robert North's Death and the Maiden. decided not to perform. (Nov. 4-6). If something like this had LCDT is Britain's leading choreographers who, Littler exhibit admirably assembled by happened at any other Dance in modern dance company and wrote, 'seem to be increasingly Jordan Levitin, one of the con­ Canada conference it might was founded in 1967 and has interested in treading the two­ ference's indispensable band of have sent tremors through the been directed since then by way street called communica­ volunteer workers. Yet, for all whole community but, in this Robert Cohan, a figure well tion' . Much of the success of their usefulness, the most pro­ case, it was scarcely noticed. known in Canada through his these performances depended ductive dimension of this con­ Grossman's decision , based on activities as teacher and choreo­ on the high level of technical ference, like all its predecessors, his justifiable dissatisfaction grapher. Cohan was for many production delivered with was the informal process of with the principles underlying years a featured dancer in the astonishing efficiency by Ron communication between the selection of performers for Martha Graham Dance Snippe and his colleagues. members of the dance commu­ the conference's most presti­ Company. Apart from the conference's nity-the chance to meet old gious (and public) show, cer­ Edouard Lock, the 28-year-old happy atmosphere, helped on friends, make new ones, share tainly warrants serious future Montreal choreographer has by some glorious June sunshine, ideas, hopes and frustrations-in consideration. His argument, won this year's Jean A. observers noted a broad con­ short, to maintain the bonds. that programming decisions Chalmers Award in Choreo­ cern among delegates-dancers, To see all this going on must should be guided primarily by graphy. The $5,000 prize was teachers, scholars, administra­ have come as a shock to special criteria of performing and artis­ presented to him by Joan tors-to find practical solutions guest teacher Patricia Wilde. tic excellence and not be influ­ Chalmers at the opening ban­ to current problems and issues. For many yea rs one of New enced by political or regional quet of the Dance in Canada Hard-nosed realism in the York City Ballet's most famous considerations, has merit. Bur, Conference in Ottawa on June midst of economic recession ballerinas and now head of the Canada is an unusual country, 23. The jury, (Anna Blew­ seemed the order of the day. American Ballet Theatre its artistic communities dan­ champ of Toronto, lris Garland There was an impressive School, Patricia Wilde had to gerously fragmented and of Burnaby, BC and Daniel attendance at sessions concern­ leave her hometown of Ottawa dispersed. Perhaps, on balance, Jackson, Elizabeth Langley and ing pay-TV, fund-raising, mar­ in 1943 because there were no the spirit of friendly indulgence Suzanne Asselin all of .\lom­ keting, media relations and opportunities for a professional and openness which is willing real ), se lected Lock from _} many other similarly practical dancing career in Canada at sometimes to tolerate less than candidates, finding his wor'.­ conference offerings. As well that time and absolutely no the very best from some com­ 'torally innovati,·e. highiy ori - sense of a Canadian dance yo u could learn all about mod­ panies and choreographers (a nd inal and curious . ern make-up techniques, or community. there were many examples of how computers would likely Not everyone shared in the that) is healthy and progressive. Victor H ead, Chairman o · rhe revolutionize both the artistic general spirit of goodwill and As the indefatigable Kee van Council of the London Philhar­ and administrative sides of cautious optimism which Deurs, who co-ordinated the monic Orchestra of Great Bri­ company life, get a rudimen­ imbued the Ottawa conference. Ottawa conference, observed: ta in, has produced a book tary grounding in the principles Jacob Siskind, dance and music 'this is the Dance in Canada cal led Sponsorship. Ir covers of stage lighting for dance or critic for Ottawa's only conference and we must present many aspects of a complex sub­ participate in a choreographic Engligh-language daily, The rhe whole picture'. ject and al though nor specifi­ workshop run by Grant Strate Citizen, was a continuous dis­ cally written for the arts com­ and Karen Rimmer-or stroll senting voice throughout the London Contemporary Dance munity nor for a North Theatre makes its first Cana- through a fine photography proceedings finding little to American audience much of 38 DA CE IN CANADA what it has to say may be of community participated as Music Theatre (winter cycle) Sers and costumes will be by help to Canadian fund-raisers artists, scholars and critics, program continues to maintain Toller Cranston. Lambros and development officers w ith among chem Jeanne Renaud, an important place in Cana­ Lambrou will for ABC's dance companies. If yo u can Grant Strate and Max Wyman. dian dance education. October season in Edmonton afford the $29.95 price tag, also choreograph The Soldier's Mary Jo Fulmer , Calgary write to S. Rosoph-Book Ser­ ALBERTA Tale in this, rhe Stravinsky cen­ dancer and choreographer, has vices, PO Box 631, Cote St. tennial yea r. recently returned from an eight­ Luc Station, Montreal, Que­ Dance Teacher Training is a month long performing and bec, H4V 2Z2. new program introduced this SASKATCHEWAN teaching tour of Japan, Bali September at Grant MacEwan Peter Schaufuss, the National and other eastern stops. She Community college, Edmon­ The Saskatchewan Theatre Ballet of Canada's world­ immediately se t to work creat­ ron. It is a two-year diploma Ballet is the newest company renowned principal dancer, ing an outdoor dance spectacle program, the first of its kind in on the ever-changin g Ca nadian made his Covent Garden debut in Pri nce's Island Park, Cal­ western Canada and will pre­ dance scene. In the planning on June 11 as a guest artist of gary. The work , incorporating pare the aspiring young dance stages since 1981, the company the Roya l Ballet in the title role sound movement and light, teacher or the retired profes­ offici all y began classes a nd of Kenneth MacMillan's new was performed July 30 and 31. sional dancer for a career a·s a rehearsals on September 1 in its work, Orpheus. Canadian-born teacher with a broad knowl­ The Alberta Ballet Company Wa llace Street studio in Regina. dancers Jennifer Penney and edge of instructional techniques began its 16th season in the The roster of six company Wayne Eagling also created as well as of anatomy, choreo­ mountains - as resident com­ members and eight apprentices roles in this, MacMillan's cen­ graphy, psychology, and music. pany of the Banff Centre's pro­ includes Marie Nvchka-Blocka, tennial tribute to Stravinsky. fessional dance summer schoo l. Lorne Matthews ~nd April MacMillan, himself, has, The Alberta Ballet School has ABC has eight new dancers this Chow. Saskatchewan Ballet incidentall y si nce branched out recently moved into the Victo­ year, among them Alexandros Theatre plans to tour through­ into play direction with a pro­ ria Composite High School. Mendendoz (formerly of the out the province performing duction of Ionesco's The Chairs The school, in operation for Ballet Internaci o nal de Cara­ works by Perri Bodeut, Luisa and The Lesson at the New nine years, is now an accredited cas) and Vasile Petrutui who Pavlychenko, Jacques Lemay, Inn, Ealing in West London. program of the Edmonton defected last April from the Kathryn Greenaway and School Board, wi th an average Dance/USA is the name of a Fantasios Ballet of Bucharest. others. enrolment of 50 students. As new nati onal organiza tion Former principal dancer and well as traditional ballet train­ The Royal Winnipeg Ballet created in April to serve the ballet master Michel Rahn has ing, the school offers classes in gave the first performances of needs of American ballet and left the company and returned visual art, music, Be nesh nota­ its 1982/ 83 season in Europe, dance companies. The incorpo­ to work in the United States. ti on and modern dance tech­ dancing at a Red Cross benefit ration of Dance/ USA foll ows a T he new ballet mistress is Mar­ nique. The school's principal is in Nicosia, Cyprus and then in year-long study underwritten tha Herczegh-Horvarh, a Ruth Carse who founded the Athens (a t the renowned festi­ by the National Endowment former principal and ballet Alberta Ballet Company and va l) and in Thessalonica, for the Arts, the Capezio Foun­ mistress of the Opera Ba llet of now devotes her time to train­ Greece. T hen it was back to dation and Exxon. Donald A. Bucharest. Resident choreo­ ing young dancers and dance W innipeg for ' Dancing in rhe Moore, formerl y a seni or grapher Lambros Lambrou wi ll teachers. Park', (July 29- Aug. 1). In administrator of the NEA travel to Perth, Western Austra­ October, the company travels becomes director of the new The Gra nt MacEwan Dance li a, to set his ball er Motif on to London, England, for its organization's staff who are Conservatory presented its the Australian Ballet and also first appearance there since the based in Washington, DC. In year-end performance in May to create a new Firebird for Commonwealth Festival of many ways, Dance/ USA seems at the John L. Haar Theatre. them. 1965. The R WB wi ll dance at The program consisted of ABC has had to trim some of to have been established to ful­ the famous Sadler's We ll s fill purposes simi lar to those David Adams' Winter Games, its operations and planned T heatre (Oct. 19-30), present­ already met, in Canada, by the Wend y Albrecht's Minuet, touring this season to cope ing fo ur different programs. Dance in Canada Association Nocturne by Gail Leonard, w ith a def ici t currencl y running Sponsorship for the Sadler's and the Canadian Association Florence Skinner's Ballet For at around $250,000. T he oper­ Wells appearance has been suc­ of Professional Dance Organi­ Fun, Lambros Lambrou's ating budge t for 1982/83 has cessfu ll y gathered by Be lle zations (CA PDO). Viva ldi, Pas de Trois by Chiar been reduced by $200,000 to Shenkman, a Canadian now Goh and a collective work by $940,000. No dancers have long res ident in London and BRITISH COLUMBIA the coll eges's intermedi ate been dropped but rwo staff deepl y in volved with the arts. Ballet Composition class members have gone and the Northern Telecom, Confedera­ Art and Reality, a conference entitled Mais Souffles. company will not dance its tion Life Assurance, Wood for artists, arts policy-makers, Nutcracker this year in Regina Dr. Paul D. Fleck has been Gundy and rhe TD Bank have admini strators and educators and Saskatoon. Stanley Ware, appointed President of rhe all put their money behind the was held August 10-13 in Van­ ABC's general manager, is con­ Banff Centre, effective January R WB 's important London visit. couver. This unprecedented fident the company can 1, 1983. He succeeds Dr. David T he company's fa ll hometown internati onal forum focused on weather the latest fin ancial Leighton who has res igned to season, (Ocr. 6-10) , wi ll universal themes concerning the storm. The pace of fund-raising become Presi dent of the XV include the RWB's first perfor­ nature of art in rel ation to pol­ has been stepped up and the Winter Olympic Games Organ­ mances of Balanchine's Allegro itical, social and econo mic for­ Alberta government is funding izing Committee. Dr. Fleck, Brillante. Following that trans­ ces and technological develop­ an extensive management study curren tl y President of the acl antic trip rhe company will ments in contemporary society. of the company's operati ons. O ntario Coll ege of Art, was begin final preparations for its T he conference featured three T he Alberta Ba ll et appeared before that chairman of the December 26 prem iere of Bri t­ specially conceived perfor­ in the Edmonton Opera pro­ Engli sh Department at the ish choreographer Peter mances: Karen Rimmer, Van­ duction of the Merrv Widow in Universir v of Western Ontario. Wri ght's production of Giselle. couver dancer and choreo­ August and has a b~sy season The Banff Ce ntre for Continu­ grapher, provided rh e evening in cluding rhe preparation of a Evelyn Hart, Royal Winnipeg ing Ed ucation, through its of dance. A number of distin­ new ballet, Cinderella, (for Ba ll et Principal Dancer, is the dance summer school and guished members of the dance April ) to the Prokofiev score. subject of a special hand- DANSE AU CANADA 39

~ loured, limited edition litho­ term with a full curriculum in _aph created by Canadian both its Professional Program .:ist John Kerr. Entitled and General school despite the - . elvn Hart in Rehearsal: fact it is no longer funded by 11;eo and Juliet, the 21" by the Canada Council. The new ., lithograph will cost $250 school co-ordinator is Billyann - the limited edition of 75 Balay, a graduate of the -~m ts is available this fall. National Ballet School and former rehearsal director and dancer with TOT who has been studying and performing inde­ e N ational Ballet of Canada pendently in Toronto and New · .:urned once again during the York for the past year. Balay ummer to Ontario Place, also has an extensive back­ · ug. 18-22), where it per­ ground in magazine journalism rmed La Sylphide and to and was Editor of Performing ~rp ark, in Lewiston, New Arts in Canada for two years . .)rk, (Aug. 24-29). Many of She replaces Christel Wallin ·-e company's dancers were who has returned to her native · ,·av fulfilling guest engage­ Sweden. The new school ~enrs in the summer. Vanessa administrator is Linda Jones. ~..arwood and David Nixon, Faculty includes Toronto · r example, joined 'Alexander Dance Theatre artistic directors :::;ud inov and Stars' for a US David Earle and Patricia Beatty ur, Veronica Tennant as well as Helen Jones, Terrill peared with the Toronto Maguire, Nancy Ferguson, ·m phony Orchestra at Onta­ Billyann Balay, Paula Ravitz, o Place (July 28) in Constan- Graham Jackson, Michael - n Patsalas 's Bolero, Karen Baker, Gordon Dowton and .. ain and Peter Ortmann dan­ TOT company members. Guest xd in Spoletto and a group of faculty throughout the year _·a tional Ballet dancers, among will include Norey Drum­ ·':lem Veronica Tennant, Ray- mond, Kathryn Brown, Danny ond Smith and Kevin Pugh, Grossman and Libby Nye. ade a special appearance in :... 'Aquila, near Rome, for the Hans Meister, guest artist, -ummer Festival of Music and teacher and choreographer, rchitecture, in a new work by returned to Canada during the atsalas. The company takes summer, after a 20-year - full-length Napoli to Mont­ absence, to teach at the George ·eal (Sept. 16-19) and then Brown College Summer School ~on tinues eastward on tour: of Dance. Mr. Meister was a ~redericton (Sept. 21-22), principal dancer of the Charlottetown (Sept. 24-25), National Baller of Canada -ackville, N.B., (Sept. 27), from 1958-1962. He has Halifax (Sept. 29-Oct. 2), and danced with many leading LA -t. John's (Oct. 6-10). It will companies around the world perform in Hamilron (Oct. 17- and, from 1968-70, studied at ~ ) and give its regular Toronto the Kirov Ballet in the 'Perfec­ A film celebrating a unique event all season at the O'Keefe Cen­ tion Class' of the legendary in Canadian Dance History. 8 ·re (Nov. 10-28). Russian teacher, Alexander Pushkin. While in Leningrad he companies together on stage for The School of the Toronto also appeared with the famous Dance Theatre opened its fall Russian company. Hans Meis- the first time. [erle Holl oman and Charl es Flanders in David Earl e's production of Dido c111d September 9, 8:00 PM on CBC TV A documentary directed by John N. Smith, Michael McKennirey and Cynthia Scott. Produced by and distributed by the National Film Board.

National Office Film Board national du film of Canada du Canada Hans Meister (lefr ) wirh fa mous Ru ssian reacher Al exander Pushkin who di ed in 1970. rer, who directed the opera tivel y in the junior division. Theatre (Oct. 12-16) and Dance Company from Van­ baller of Zurich from 1975- Alexa nder Grant, artistic direc­ Sweden's Cullberg Baller couver (Oct. 7-10), Le Groupe 1978 has served on the jury of tor of the National Ballet of Company (Nov. 23-27). Two Nouvelle Aire from Montreal rhe International Ba ll er Com­ Canada sat on the 19-member popular companies from last (Oct. 21-23), Spindrift from petition in M oscow and Japan jury. year will return, Les Ballers Kingston (Nov. 25-28), Peggy and has been widely seen as a Trockadero (Jan. 25-29) and McCann and Dancers (Mar. guest artist and reacher around Dance! the Toronto perfor­ rhe Louis Falco Dance Com­ 17-20) and City Baller (Mar. rhe world. Mr. Meister is hop­ mance series sponsored by Uriel pany (Mar. 15-19) and two 31- Apr. 3) - both of Toronto in g to return more frequentl y Luft and Mark H ammond more New York companies wi ll - and the Winnipeg Contem­ to Canada in future years to launches its third season in the make their form al Toronto porary Dancers (Apr. 28-30). reach and coach. newly renovated Rye rson Thea­ debut, rhe Murray Louis Dance The New Quebec Dance series tre. The orchestra sea ting was Company (Apri l 19-23) and presents six companies from National Ballet School gradu­ given a much-needed overhaul the Joyce Trisler Danscompany Montreal: Daniel Leveille (Jan. ates Brigitte Martin and Pierre this summer to give everyone in (Feb. 22-26). 12-16), the Jo Lechay Dance Quinn (both aged 17 and both the house a better view. The Company (Feb. 9-13), M arie from Quebec) danced their line-up of companies this sea­ Toronto's Harbourfront will Chouinard (Mar. 24-27) and ways through the lnrernarional son is exciting. From Europe have two dance series running Edouard Lock Danseurs (Apr. Ballet Competition in Jackson, come two companies on their concurrenrly this year. The 13-1 7). The Harbourfront Mississ ippi in late Jul y to win first Canadi an tours, The Lon­ Dance Canada Dance series dance season opens with a non­ bronze and sil ver medals respec- don Contemporary Dance will feature the Paula Ross series event: Edmonton's new

FIRST TOUR TO EASTERN CANADA! Dt\NNY GROSSMAN DANCE COMPANY "If you're into dance even a little bit, make a special trip and give yourself a gladdening good time. Danny Grossman is something of a cockeyed genius. If you haven't seen his stuff, you're in for a mind-stretching surprise. Buflnlo Evening News

November 1st 1982 Rimouski, PQ CEGEP 4th Sackville, NB Convocation Hall 6th& 7th Sydney, NS Playhouse 9th & 10th Wolfville, NS Denton Hall Booking & 12th Halifax, NS Dalhousie, Cohn Publicity by 13th Halifax, NS Class TBA 14th Antigonish, NS University Auditorium 16th Fredericton, NB Playhouse ~ General Arts Management Inc. "On no account miss them. 4 71 Queen St. East, Toronto, Canada M5A 11'9 They are the tops." London (England) Evening News Telephone: (416)363-1468 DANSE AU CANADA 41 dance company Urban and Formolo Dance (Sept. 23-26). Dianne Woodruff is the new chairman of the Dance Department at York University. Woodruff, an associate profes­ sor, was formerly the co­ ordinator of the graduate pro­ gram in dance. She is the author of many articles and book reviews and edits The Dance Research Journal. Pro­ fessor Woodruff replaces Yves Cousineau. Mime Company Unlimited will tour its new show George Orwell, The Crystal Spirit to northern Ontario and the west­ ern provinces this fall. The company will return to Toronto to participate in Har­ bourfront's Mime Series (Dec. 9-12) before embarking on the fin al leg of the tour in southern Ontario. The Dance Showcase series at the National Arts Centre in Ottawa boasts a line-up of eight world-class companies - three from Canada, three from New York and two from Europe. Appearing for the first time in Ottawa will be the London Contemporary Dance Theatre (Oct. 18 , 19), Swed­ en's Cullberg Ba llet (Nov. 29, 30) and the Louis Falco Com­ pany of New York (Mar. 21 , 22). Making return engage­ ments will be The Paul Taylor Dance Company (Feb. 21, 22), The Feld Ballet (Mar. 28-30) and the three big Canadian companies, Les Grands Ballets International medal winners Brigitte Martin and Pierre Quinn of the National Ballet School. Ca nadiens (Oct. 28-30), The National Ballet (Apr. 21-23) people. The film has been sold gawa and Michael Moore as QUEBEC and the Royal Wi nnipeg Ba llet to the CBC and is intended for well as an appearance by the (May 12-14). Les Grands will distribution as a theatrical Danny Grossman Dance Thea­ Les Grands Ballets Canadiens celebrate its silver anniversary short or an educational film for tre. There was a reading by celebrates its silver anniversary with the reviva l of Fernand schools. Canadian poet Gwendolyn this year. The company's first Nault's Carmina Burana. The MacEwen and the guest engagement of its 25th year A Multicultural Dance Specta­ ati onal will present the latest speaker was Margaret was Surnmerfare Festival of the cle was one of the events mark­ additi on to its classical reper­ Laurence. Arts in Purchase, New York ing Straftord's sesquicentennial toire - Nichiolas Beriosoff's (July 9, 10). From there it \\·ent in July. Over 300 dancers, sing­ David Earle· directed the Strat­ adaptation of Petipa's Don on to the Jacob's Pillow Dance ers and musicians from ethnic for Summer Music production Oui:rnte - and the R WB will Festival, Lee, Massachusserr . communities across the pro­ of Dido and Aeneas (July 6-8). bi·ing Vicente Nebrada's exotic (July 20-24). (Jacob' Pillow vince participated in the all-day Several dancers from the Firebird. marked its 50th AnniYer a · festivities which included per­ Toronto Dance Theatre, of this summer with an 11-wee.· Tap Dancers storm Toronto's formances of just about every which Earle is a co-artistic season and in fact it wa Teel Bay Street in a new short film type of folk dance imaginable director, performed in this Shawn, founder of che ·es-1\"al. produced by Kitchen Films and from Ukrainian to Ecuadorian innovative and unusual produ­ who invited Les GBC 1 • vea choreographed by Lauren to Six Nations Iroquois citon of the Purcell opera. ago for its fir c appearance in Goldhamer. Bay St. Tap is a Dancers. Although Earle was responsible the United States . The com­ ' musical short' celebrating the for the choreography as well he Arts for Peace presented a con­ pany presented two eparate rhythms of ordinary places and had assistance in the form of cert/ reception at the Toronto programs \\·ith a ,·aried repe­ recording the reactions of every­ contributions from James Dance Theatre, July 22. The toire which included the com­ day people confronted with a Kudelk a (of Les Grands Ballets evening featured performances pany premiere of Shawn's 1935 see mingly spontaneous out­ Canadiens) and from Chris­ of Patricia Bea tty's Mas'Harai vi rtuoso dance for six men - burst of tap-dancing by other­ topher House and Phyllis by TOT members Grace Miya- wise very ordinary-looking Whyte. Polonaise. 42 DANCE I CANADA On August 9 Les Grands left Ludmilla Chiriaeff, founder of held September 24-26 at the DANS identified nine differ­ for Europe appearing first at Les Grands Ballets Canadiens, Kala Bharati Foundation in ent disciplines to be represented the Santander Summer Festival received an honorary degree of Montreal in collaboration with at the conference and instituted in northern Spain where they Doctor of Letters from McGill Le Regroupement Theatre et an awards system to honour were accompanied by the Cze­ University's Faculty of Educa­ Danse de l'Universite du distinguished contributions to choslovakian Philharmonic tion and Centre for Continuing Quebec a Montreal. The theme each field . The award recipients Orchestra. Then it was on to Education in recognition of her of the symposium is Tradition were Sally Brayley-Bliss London for a rare appearance life-time dedication to the arts and Experimentation in Indian (Ballet), Evelyn E. Edgett (Ball­ at T he Royal Festival Hall and for her outstanding contri­ Classical Dances. There will be room), Dorothy Walker (Edu­ (August 17-28) with a wide­ bution in the field of dance seminars, workshops, films, cational and also Folk), Betty ranging repertoire including a education. Mme. Chiriaeff exhibitions as well as perfor­ Smith (Highland), Pat number of British premieres. received the honour at McGill's mances. The keynote speaker Richards (Modern), Wilf Logan These were Brian Macdonald's convocation ceremonies in will be the well-known dancer (Square and Round), Joseph Double Quartet and Tam Ti June. (In November 1980 she and teacher U.S. Krishna Rao Walin (Stage), John Clancey De/am, Ronald Hynd's Les was awarded Quebec's highest of Bangalore, India and the (Therapeuti c). There was also a Valses and Scherzo Capriccioso, artistic honour, Le Prix Denise opening address will be given general dance award given to the Doris Humphrey/ Ruth St. Pelletier, one of the five Prix du by Vincent Warren. For infor­ Gordon Arthur who was Denis classic Soaring, Lar Quebec.) mation contact Kala Bharati Chairman of DANS for six Foundation, 3410 Sherbrooke years. The third annual Nova Lubovitch 's Exult ate jubilate Les Ballets Jazz de Montreal and Linda Rabin's Tellurian. St. E., Montreal, Quebec. Hl W Scotia Cultural Life Award for began its 1982/ 83 season July 1C6. (514) 522-9239. . Les Grands' home season at 9 with a five-week tour of dance went to Dorothy Walker. Place des Arts will open with Jamaica, Bermuda, Venezuela In 1981 the province honoured the Montreal premiere of the and the Antilles. On its return NOVA SCOTIA Ruth Bell-Davison and in 1980 National Ballet's Napoli (Sept. the company appeared at the Gunter Buchta received the first 16-18). Les GBC will follow Shaw Festival in Niagara-on­ The First Annual Dance Nova Cultural Life Award for dance. with a revival of resident cho­ the-Lake. The week of Sep­ Scotia Convention held in Celia Franca was the guest of reographer Fernand Nault's tember 12 will be spent at the Halifax May 28 to 30 repres­ honour at the DANS Conven­ (Nov. 4-6). Carmina Burana Knoxville 1982 World's Fair in ents a milestone in Canadian tion. One of the highlights of The company's spring season Tennessee after which Les dance history not just because it the weekend gathering of more promises an 'Evening of Pre­ Ba llers Jazz will go imme­ was the first province-wide than 300 people was Franca's mieres' (Mar. 10-12) featuring diately to Panama, the first dance conference to be held in informal talk with the delegates new works by two Canadian engagement of a three-week Nova Scotia but also because it on the last day of the choreographers, Judith Mar­ South American tour. After a was the first conference in conference. cuse's Seascape to Bach's Violin mere week's rest the dancers Canada to bring together a The prime mover behind the and Oboe Concerto in D minor will embark on a five-week full-range of dance disciplines conference was Gunter Buchta and James Kudelka's new tour of the western United to meet, exchange ideas and who entered the Canadian ballet to a commissioned score Stares raking in 15 states until perform for one another. The dance scene in 1956 as a cham­ by Toronto composer Michael mid-November and then event warranted the proclama­ pion ballroom dancer. He J. Baker. As well there will be a resuming in January 1983 tion of Canada's first provin­ founded DANS in 1975 and revival of Sir Anton Dolin's when they return to the west cial Dance Week. The Honour­ was Chairman of the dance in Giselle (Mar. 24-26) which and continue on to Florida. abale John M. Buchanan, Canada Association Annual was last performed five years February they go to Japan. Premier of Nova Scotia, Conference held in Halifax but ago. The final touch to the decl ared May 24 to 30, 1982 is probably best remembered as March they return to the east­ 25th Anniversary celebrations ern Uni red States with an the provincial Dance Week in the direror of the Buchta will be a new work created appearance in New York and response to a proposal by Dancers who appeared weekly especiall y for that wonderful DAN S, the seven-year-old on Canadian television for 17 character dancer John Stanzel. April includes brief visits to dance organization. consecutive years. Montreal and Quebec City Entitled Astaire, it will be a before the company heads off 'softshoe' homage to the Hol­ for Mexico to tour throughout lywood legend choreographed May. by Alberta Ballet company's Bayview School artistic director Brydon Paige. Classical Dances of India is an international symposium to be of Ballet

Now under the direction of 1069 St.Clair Avenue. West 656-9568 Bella Kovarsky ADl'LT DANCE DIVISION Russian Method Registration for Fall Term Co,·erin g beginners to Ad,·anced Sept. 7-11 9:30 a m - 9: 30 pm ( 16 years of age o r o lde r) Ballet Senior Dance Division For stude nts with a minimum of Char~cter Beginners to Professionals 5 years of training • Jazz Registration fo r Fall 1982 Sess ion Jl'NIOR D AN CE DIVISION August 28, 30 and Se ptember 9, 11 For children bu!inninl! th rnul!h Ciradc Fo ur (4 t(; 16 yc:1rs of ,;gc) 130 Willowdale Avenue (Yonge and Sheppard) For further informati on call 222-5 111 DANSE AU CANADA 43 Letters

M ontreal Although the majority of not get it on this occasion or lie sling shots bounce off - but critics would support Ms. Kis­ Ms. Vita and Ms. Kisselgoff what of our younger choreo­ Les Grands Ballets Canadiens selgoff's views of our company, saw two different companies graphers and companies? does not, as a policy, respond that is not the point. The point perform. Should they be subjected to the to the critical slings and arrows is in our own country, in a Let me repeat, Ms. Vita is ·same kind of invectives? that are, albeit infrequently, magazine about the Canadian fully entitled to her views. If Ms. Vita states that in our hurled at it. It is, after all, a dance, what kind of review they were in the mainstream of 25th year, 'maturity should critic's prerogative to write should appear and what kind critical comment about our equal dependability'. I wonder from his, or her, viewpoint of criteria should bae used to company, your magazine how the maturity or dependa­ alon and for the publication select the reviewer? would be right to give them a bility of your editorial policy is that prints the review to pro­ Les Grands Ballets Cana­ forum. They are not, you know demonstrated by the publica­ vide a forum for those diens does not bat 1,000 every they are not, and you are not tion of Ms. Vita's pejorative expressions. time it comes to the plate and being supportive of the Cana­ remarks in your 32nd issue? Some publications, however, does not expect critical back­ dian dance by publishing such do have different mandates and slapping for each and every per­ opinions. Colin McIntyre responsibilities than others. formance it gives. It does Our shoulders are broad Director General Surely those of 'Dance in Can­ expect a fair deal. Either it did enough to letMs. Vita's vitrio- Les Grands Ballets Canadiens ada' include nurturing, sup­ porting and promoting dance activity int.his country. If this is the case, then your reviewers must, to some degree, at least, reflect those objectives in their writings. On this basis, then , I write to you about Kati Vita's review of our March season (D in C/ Summer 1982). Ms. Vita is intensely nega­ ((; tive about our company and \ I can find precious little of redeeming choreographic or \I I artistic value and even then 'only after hours of embar­ rassment' in 'performances that belong more properly in the studio'. Ms. Vita wonders, I 'What is the point of (our) survival?' Ten days after that March season, we appeared at the City Center in New York. Ms. Kis­ selgoff in the New York Times called Les Grands Ballets Canadiens 'a company to cheer about.' She went on, ' there is an enormous vitality to these dancers and they dance with gleaming polish and pure plea­ sure.' (April 8, 1982). After the season, Ms. Kisselgoff wrote, 'It is creatively one of the few (companies) seen hereabouts 'I used to eat at a restaurant where all the waiters were budding opera singers but I that does not seem to be suffer­ couldn't stand all the noise!' ing from hardening of the toe shoes. That is, it seems to be Je ne mets plus Jes pieds a mon ancien restaurant. Les serveurs etaient des emules de Caruso willing to court risk as well as et leurs vocalises me coupaient l'appetit. sucess. This was the way our own (U S) companies used to be.' (April 18, 1982). 44 DANCE IN CANADA Dance at a Glance

Les Ballets Jazz, Ecole Superieure Concordia University Kyra Lober Joseph Shulman, The Other Agency, 1231 St. Catherine St. W. 7141 Sherbrooke St. West Deve lopmental Movement Repattern­ Public Relations (514) 849-6071 Montreal, Quebec H4B 1R608 ing, a therapeutic method which facili­ 1179A Bloor St. West, Toronto, Onta­ Montreal, Quebec H3G IP 5 Devel oping Programme in M odem tates o ne's ability to move with mo re ri o M6H 1M9 Telephone (416) Ministry of Education Permit #749889 dance & Creati vity in scholas tic year. freedom, ease, grace and efficiency. Pri ­ 532-6519. Jazz, Classical, Tap Professor El iza beth Langley vate sessions and work shops. Also Prof. Ad v. Int. Beg. Tel: (514) 879-5803 classes in Feldenkrais Awa reness Lois Smith Scholarships Through M ovement. Ca ll (41 6) 924- George Brown College School of Dance Founders: Genevieve Salbaing, Eva von Contemporary Dancers, Winnipeg 3469 Toronto. 200 King Street East, Toronto Gencsy A Winning Style. For fees and booking, (41 6) 363-9945 Toronto School , (416) 862-7114, contact Dena Deeter, 2nd fl. , 444 Ri ver Lomi Bodywork Ballet, Pointe, Character, M odern, 207 Adelaide St. E. Ave. Winnipeg, Manitoba '>3L 0C7 Deep-ti ss ue massage working with Jazz, Junior, Senior and Adult C lasses. Toronto, Ontario M5A IMS (204) 452-1239 breath and awareness toward physical Two-year diploma program-profes­ and emotional release, more ali veness sional level. Les Ballets Russes de Montreal Dance Concepts Studio and joy. Change posture and character Director: Mikhail Berkut. Class ical Biosomatic exercises; Ballet Modem, thru se lf-awareness massage. Fred Sun Ergos, A Company of Theatre and Ballet (Russ ian Method), Ba ll et-Jazz, Jazz and Fitness Classes. Children, Schl oessinger. By appointment. (416) Dance Character, Modern. Kalinka Slavic teens and adults. 681 Markham St. 537-7998 Dana Leubke & Robert Greenwood, Dance Company. Beginners to Profes­ (Bloor-Bathurst) Tor. 533- 2103. Lil­ Directors 2205, sionals. Scholarships. Sessions Year­ lian Jarvis, Director Lumitrol Limited 700-9th St. SW, Calgary T2P 2B5 Round. Rehearsal Facilities. (514) 288- Spotli ghts, Dimmers, Curtains, Supp­ Tel. (403) 264-4621 1677. 1231 St. Catherine West, Ecole Nouvelle Aire lies, Professional System design, manu­ Perfo rm ances-Classes. Montreal, PQ HJG IP5. Cours de danse modeme; placement au facture, sa les sol et technique Limon. Tous niveaux. Five Walker Ave ., Toronto, Ontario Theatrebooks Limited Bella Kovarsky is now Director of the Tel: (514) 286-9690. 1276 Sainte­ M4V !G3 Bruce Whitehead, P. Eng. 659 Yonge Street Bayview School of Ballet. Ballet (Rus­ Andre, M ontrea l, Quebec H2L JS9 (416) 921-6060 Toronto, Ontario M4Y IZ9 sian Method) character and Ja:zz. All (41 6) 922-7175 levels. 130 Willowdale Ave. Toronto. Simon Fraser University Centre Grant MacEwan Community College Canada's finest selection of Dance (416) 222-51 11. for the Arts Edmonton Alberta. 2 year diploma books. Grant Strate- Director program. Nationally renowned instruc­ Canadian College of Dance-Ryerson BA degree program with a dance major tors. Ca ll 1-403-483-2331. University of Waterloo: Dance Theatre Dept. in an interd isciplinary fine and per­ Department Honours -BA, BSc, General Teacher training Course. Coaching for forming arrs department. Contact Tony Veronica Mazer School of Dance BA. Movement Analys is, Notation, RAD and !STD exams. 50 Gould Street, Besant (604) 291-3363 M azer Dance Theatre. Intensive studies Teac hi ng, History, Criticism, Ethnol­ Toronto M5B IE8 , 595-5086. in Ballet, Modern, Ch aracter, Jazz. ogy, Technique. Features : The Carousel Friends of Terpsichore 1062 Islington Ave. , Tor. M8Z 4R6. Dance Centre, The World of Dance Artsperience July 5-23. Activities in Dealership in old and rare da nce books. 233-6702. Series, The International Summer visual Arts, crafts, dance and more. For Extensive coll ection plus sea rch service. School in Benesh Move ment Notation. details write Artsperience, c/ o Canadore Catalogue ava ilable. For appointment Ontario School of Ballet and Call (519) 885-1211 Ext. 3665. College, North Ba y, Ont. PIB 8K9, or call Kate Adelman (416) 961-5560 or Related Arts phone toll-free 1-800-461-9513. Robert W illi ams (416) 651 -7262. 1069 St. Clair Avenue West (midway York University: Dance Department between oakwood and Dufferin), Di anne L. Woodruff, Chairperson. B. A. Consultations in Theatre Goh Ballet School Toronto, Ont. M6E IA6, Phone: (Hons) , B.F.A ., (Hons) in Performance fo r professi onals and for self-devel op­ Classical ballet, chinese dance, chara c­ 656-9568. Choreography, Notati on, Teaching, ment. Small studio atmosphere. Priva te ter, jazz, pre-school to adult, profes­ Registra tions accepted 4 terms per year. Histo ry, Criticism , Dance Therapy; sessions. (41 6) 924-1023. Raymond K. sional training program. 2 studios in Ontario Ballet Theatre M. f'. A. in History and Criticism. Cosgrove MFA, CAEA. Vancouver, BC (604) 734-4437, Performing Oct. 25-April 30. For SUMMER SESSION: Credit or non­ 879-9964 informati on call: 656-9568. Credit. (416) 667-3243, 4700 Keele Centre of Movement, 171 Hampton St. , Toronto, Ontario MJJ JPJ. Ave. Toronto M4K 2ZJ, 466-9549. Le Groupe de la Place Royale Quinte Dance Centre Pri vate sessions, classes & workshops. Classes in modern dance, ball et, crea­ Full professional program to graduate Teacher/ Di rector: Leslie French. tive movement, compositi o n and voice. level. Enquiries invited for winter and Beg. to prof. 130 Sparks St., Ottawa summer schools. Box 534, Belleville, The City Ballet (61 3) 235-1492 Ont. K8N 582 (613) 962-9938. Classified Ballet, Pointe, Jazz. 23 Brentcliffe Rd., Unit 352, Toronto, Ontario M4B 4B7. Diana Jablokava-Vorps School of Clas­ Russian Academy of Classical Ballet Ltd. Tel. 421-8223. M . Bayer , Director sical Ballet-Kirov Method Mary Aslamazova, Director. Cl asses Art. Dir.: Toronto Regional Ballet and for children and adults, day and even­ Ballet Teacher required for rapidly Classical Jazz Dance Company Toronto Summer School in Dance ing, from beginners to profess ionals. growing Dance School. RAD Children's Hal Mischka, Director 1920 Aven ue Rd. , Toronto, Ont. 935 Bl oor St. W. (at Oss ington), grades: Majors: Jazz: Pl ease send Blending Ballet with contemporary jazz M5M 389 (416) 489-7597 Toronto, Ontario, M6H JU; (416) resume or phone President, PEI Ballet movements 532-2993. Assoc iation, PO Box 238 4, Charlotte­ 427A Queen St. W 3rd fl., Literally 'Dance and Opera town , Prince Edward Island . Tel. (902) Toronto M5 V 2A5 Dance books, dancewear , dance gifts. The School of the Toronto Dance 892-1 610. (416) 593-0696 46a Sherb ourne St. Toronto M5A 2P7 Theatre (416) 366-7165 30 Winchester Street, Toronto, Onta­ Wanted: Part-time ta p and jazz ri o M4X IB2 (416) 967-6887 teacher. Studio in Colfingwood. Trans­ PEI Ballet Association Three-yea r professional tra ining pro­ portati on paid. Send brochure to the (Ballet , Pre-Ballet, RAD, Adult, Jazz­ gramme in modern dance. Entrance by Allen School of Performing Arts. Box Stretch, !STD National ) Cl asses Mon­ auditi on onl y. Also offering open 422, T hornbury, Ontari o NO H 2PO. Sat. Info. (902) 892-1610 or (902) classes in modern and exercises for 436-2498. PO Box 2384, Charl otte­ adults and children. Principal: Christel town, PEI, CIA 8C1. Wa llin