Admissions Guide 2020/21 a GROWING LEGACY of DANCE in CANADA PATRIMOINE CROISSANT DE LA DANSE AU CANADA

Total Page:16

File Type:pdf, Size:1020Kb

Admissions Guide 2020/21 a GROWING LEGACY of DANCE in CANADA PATRIMOINE CROISSANT DE LA DANSE AU CANADA ARTS UMBRELLA & VANCOUVER COMMUNITY COLLEGE DANCE DIPLOMA PROGRAM Admissions Guide 2020/21 A GROWING LEGACY OF DANCE IN CANADA PATRIMOINE CROISSANT DE LA DANSE AU CANADA Arts Umbrella Dance is the vanguard Le programme de danse de l’école Arts of research and development of Umbrella est à la fine pointe de la recherche relevant, wide-reaching dance arts et du développement dans l’art de la danse, and performance. Our alumni go on to d’actualité et d’une vaste portée. Les anciens de perform with some of the world’s most ce programme poursuivent leur carrière dans prestigious companies, where Arts certaines des plus prestigieuses compagnies Umbrella dancers are applauded as de danse au monde. En tant que membres de valuable company members for their compagnies de danse, les danseurs et danseuses maturity and understanding of the de l’école Arts Umbrella sont appréciés pour leur tenets of professional dance. The Arts maturité et leur compréhension des principes Umbrella Dance Program has fostered de la danse professionnelle. Le programme integrity and inspired creativity in a de danse de l’école Arts Umbrella a favorisé generation of performers. That growing l’intégrité et stimulé la créativité de toute une legacy moves us forward. génération d’artistes. (COVER) MICHAEL SLOBODIAN; MICHAEL SLOBODIAN 2 3 LE PROGRAMME Développement des compétences en vue d’une carrière en danse Le programme de diplôme en danse de l’école Arts ABOUT THE PROGRAM Umbrella (AU) et du Vancouver Community College (VCC) est unique au Canada. Ces deux établissements Developing Skills For a d’enseignement offrent, en partenariat, un programme de Career in Dance formation postsecondaire en danse. À titre de complément à leurs études en danse, les étudiants suivent également The Arts Umbrella Vancouver Community des cours favorisant l’acquisition de compétences et le College Dance Diploma is unique in Canada—two développement de carrière donnés par des membres du experienced educational institutions partnering to corps professoral du VCC. Ces cours offrent une formation offer a post-secondary training program in dance. To exactement adaptée aux exigences que les diplômés support their dance studies, students access skills- devront satisfaire pour réussir dans leur carrière. and career-based courses taught by VCC faculty. These courses offer relevant education that provides Les étudiants qui termineront ce programme avec graduates with the skills they need to succeed in succès recevront un diplôme d’études postsecondaires, their careers. accordé conformément aux exigences du Ministère des études postsecondaires de la Colombie-Britannique After successful program completion, students (British Columbia Ministry of Advanced Education). Les earn a post-secondary diploma, granted under diplômés du programme qui désireront poursuivre leurs the authority of the British Columbia Ministry of études universitaires auront la possibilité de transférer Advanced Education. Graduates who choose to certains crédits de cours à un programme de certificat, de further their academic education may be able diplôme ou de baccalauréat et doivent communiquer avec to transfer some course credits to a certificate, l’établissement scolaire qui les accueillera pour obtenir de diploma, or degree program, and should contact l’information détaillée sur le processus de transfert. Les the receiving institution for details on the transfer universités Simon Fraser (SFU) et Capilano permettent process. Simon Fraser University (SFU) and aux diplômés du programme AU/VCC qui sont admis à des Capilano University allow AU/VCC Dance Diploma programmes connexes de transférer 30 crédits de cours au graduates who are accepted into related programs volet Fine Performing Arts (arts du spectacle), ainsi que des to transfer 30 credits in Fine Performing Arts course crédits de cours facultatifs, comme il est énoncé dans la work, as well as elective credits as articulated in the politique du système de transfert de crédits de la Colombie- British Columbia Transfer System. Britannique (British Columbia Transfer System). The AU/VCC Dance Diploma is a rigorous program Le programme de diplôme en danse AU/VCC est rigoureux that prepares advanced dancers for a professional qui prépare les danseurs avancés à une carrière career. Following a full-time schedule, students will professionnelle en danse. Les étudiants dansent six jours dance six days per week with the majority of their complets par semaine, suivant un horaire à temps plein courses in studio and rehearsal. dont la majeure partie est constituée de classes en studio et de répétitions. Dancers who are not accepted to VCC may complete the Arts Umbrella Post-Secondary Program, but will Les danseurs qui ne sont pas admis au VCC pourront suivre not receive a diploma upon completion. le programme postsecondaire de l’école Arts Umbrella, mais ne recevront pas de diplôme à la fin du programme. DAVID COOPER 4 5 Arts Umbrella’s training is unique, with a well-balanced “ curriculum stressing the need VCC CLASSES for integrity, discipline, creativity Careers in Dance: resume development, audition and emotional investment, while preparation, seeking financial assistance, how to maintain providing rigorous classical emotional wellbeing; Rhythm Studies: develop a working training as well as experience knowledge of rhythm pertaining to dance; Arts in Context: dancing in multiple styles.” discussion on the development of the arts and performing —Emily Molnar, Artistic Director Ballet BC arts throughout history. PERFORMANCE Through the Arts Umbrella Dance Company, dancers have COMMUNITY PERFORMANCES many opportunities to participate in professional-level As part of Arts Umbrella’s outreach mandate, dancers performances. Each month beginning in January, AUDC bring the arts to young people across Metro Vancouver area presents the Sunday Performance Series, showcasing works- through Mixed Nuts. AUDC presents this family-friendly in-progress by guest choreographers. In May, AUDC presents take on The Nutcracker, with choreography by more than Season Finale, a highlight end-of-season performance 10 Vancouver-based artists. Since 2014, more than 14,000 OUR ALUMNI at the Vancouver Playhouse to 2,400 audience members. students had the opportunity to see these performances For years, Arts Umbrella has been developing intelligent and Additionally, AUDC is invited to perform around Metro motivated dance students into strong and in-demand dance Vancouver throughout the year. artists. Our graduates have been hired by critically lauded PROFESSIONAL DEVELOPMENT Canadian companies and cutting-edge contemporary companies YOUNG CHOREOGRAPHERS PROGRAM In addition to class and performance opportunities, dancers around the world, as far away as the Netherlands, Italy, and Israel. Led by Crystal Pite, Artistic Director of Kidd Pivot and may teach or assist in the Arts Umbrella General Dance Arts Umbrella Dance alumni have gone on to dance professionally Arts Umbrella’s Artist in Residence , this program offers Program throughout the year. This provides dancers with with companies all around the world, including: six second-year dancers the opportunity to create their both financial assistance and an opportunity to develop own choreographic works under Crystal’s mentorship. their teaching and choreography skills. Ballet BC, Canada Ideas discussed include the integration of content, Ballet National Theater Mannheim, Germany transition of work from the studio to the stage, production INTERNATIONAL SUMMER DANCE Batsheva Dance Company, Israel values, methods of generating choreographic material, BJM Danse, Canada and leadership. Crystal guides students through the Cedar Lake Contemporary Ballet, USA INTENSIVE choreographic process to completion, when participants Every August, dancers immerse themselves in the study Dresden Semperoper Ballet, Germany see their work performed. of technique and repertory at the International Summer The Gothenburg Opera, Sweden Dance Intensive. Over three weeks, students devote the Hofesh Shechter Company, UK time required to research new movement concepts. With an Imperfect Dancers, Italy WORKSHOPS exceptional guest faculty, dancers also have the opportunity Kidd Pivot, Canada Workshops and mentorship are key elements of the AU/ to make connections with dance artists from around the Nederlands Dans Theater, Netherlands VCC Dance Diploma program. Throughout the year, world. ISDI provides students with a representation of Noord Nederlands Dans, Netherlands dancers have the opportunity to take part in Choreographic the progressive, innovative, and forward-thinking dance Proarte Danza, Canada Workshops with Ballet BC’s guest choreographers. training the world has to offer. Sidra Bell Dance New York, USA Swedish National Ballet, Sweden Toronto Dance Theatre, Canada MICHAEL SLOBODIAN 6 7 AUDITION IMPORTANT DATES THE AUDITION • January 2020 Classical Ballet Class Registration deadlines for international auditions All candidates will take an hour-long audition class in INFORMATION classical ballet to assess physical capacity. • January-March 2020 Live Auditions Auditions in Vancouver, Amsterdam, Toronto, New York, LA Movement Class All live audition candidates must submit an audition • April 2020 Some auditions may also include a short movement section registration form by the deadline* Auditions in Vancouver for further physical assessment. Candidates must bring to the audition: • Completed candidate form • February 2020 Interview • Current headshot (4” x 6”) with name printed
Recommended publications
  • Opening Remarks
    Opening Remarks Lawrence Adams was Amy Bowring’s revered mentor; his example has guided and encouraged her to tackle, with determination and purpose, assorted pursuits in dance. As Research Co-ordinator at Dance Collection Danse, Amy has been working with the organization, on contract, for five years. Many of you may know Amy through some of the projects in which she has been involved, and also as founder of the Society for Canadian Dance Studies which can boast a solid and active membership under her direction. First introduced to Dance Collection Danse in 1993 as a student undertaking research through York University’s dance programme, Amy’s passion for dance history triggered her interest in becoming seriously involved with DCD. After completing her BA in Fine Arts, Amy earned an MA in journalism from the University of Western Ontario. She is copy editor for The Dance Current magazine, has written various dance articles and encyclo- pedia entries, and is researching and writing a book on the 1948-1954 Canadian Ballet Festival phenomenon. And, to add more ingredients to the mix, she is a whiz at the computer! As Dance Collection Danse undergoes its planning process for upcoming and future activities, you can expect to see Amy’s involvement with DCD increase. To work with someone who is dedicated and skilled is a blessing, but to have someone on board who is also mindful and gracious is the best. The Editoral Committee and Board of Directors of Dance Collection Danse have dedicated this issue to Lawrence Adams, whose contribution to Canadian dance makes him deserving of ..
    [Show full text]
  • Canada Dance Mapping Study: Literature Review
    REPORT Canada Dance Mapping Study: Literature Review PREPARED FOR PREPARED BY Claire McCaughey Maria De Rosa and Marilyn Burgess Head, Research and Evaluation Section MDR Burgess Consultants Canada Council for the Arts With the participation of Philip Szporer Constitution Square 12th Floor, 350 Albert Street 503 Victoria Avenue P.O. Box 1047 Westmount, Québec Ottawa, Ontario H3Y 2R3 K1P 5V8 March 28, 2012 2 Canada Dance Mapping Study: Literature Review Table of Contents TABLE OF CONTENTS............................................................................................................................... 2 INTRODUCTION ......................................................................................................................................... 4 1. PREAMBLE .................................................................................................................................................. 4 2. APPROACH AND METHODOLOGY .............................................................................................................. 4 A. OVERVIEW OF FINDINGS.................................................................................................................... 7 B. POLITICAL: NO OVERARCHING POLICY.......................................................................................14 1. PREAMBLE ................................................................................................................................................14 2. FEDERAL GOVERNMENT POLICY IN THE ARTS .......................................................................................14
    [Show full text]
  • Program 2 1St Flash Jorma Elo
    Program 2 1st Flash Jorma Elo WHICH/ONE Adi Salant Solo Echo Crystal Pite Feb 28 Mar 1 2 Queen Elizabeth Theatre @BALLETBC AN ARTSLANDIA #BALLETBCPROGRAM2 #TALKBALLET PUBLICATION WECHAT JOIN THE BALLET BC E-LIST: BALLETBC.COM Program 1st Flash orma lo WHICH/ONE Adi alant Solo Echo Crystal ite Learning Guide The goal of this Learning Guide is to help students engage fully with the dance performance featured in Ballet BC’s 2018 production of Program at the Queen Elizabeth Theatre. TABLE OF CONTENTS 3… Welcome from Artistic Director 4… About Ballet BC 5… nterie it Emi nr i … About Ballet BC’s Program … About the Artists 1… Before the Performance Lesson I - Dance … Before the Performance Lesson II - Storytelling … After the Performance Lesson III … Continue Your Exploration Ballet BC would like to thank Diamond Foundation for their geners support of Ballet BC’s Student and Community Dress Rehearsal rgrm. Ballet BC acknowledges the financial assistance of the Province of British Columbia for Ballet BC’s Outreach and Education Program. A message from Ballet BC WELCOME TO PROGRAM 2! First, a sincere thank you for joining and supporting us as we journey through this celebratory 2018–19 season . After weeks of exciting touring in new locations, we return to our home town to present a captivating evening of dance featuring three remarkable and inspired works. Tonight’s program features the return of Jorma Elo’s gripping 1st Flash, followed by a world premiere by the fresh choreographic voice of Adi Salant, and we close the evening with Solo Echo, a company signature and audience favourite by renowned Canadian choreographer, Crystal Pite.
    [Show full text]
  • Literature and Data Review of Dance Dissemination and Public
    Literature and Data Review of Dance Dissemination and Public Participation canadacouncil.ca canadacouncil.ca Canada Dance • Mapping conseildesarts.ca Study For more information please contact: Research and Evaluation Section 350 Albert Street, P.O. Box 1047 Ottawa ON Canada K1P 5V8 613-566-4414 / 1-800-263-5588 [email protected] Fax 613-566-4390 www.canadacouncil.ca Download a copy at: http://www.canadacouncil.ca/publications_e Publication aussi offerte en français Cover image: Le Continental XL, choreography by Sylvain Émard, a Sylvain Émard Danse and Festival TransAmériques co-production, co-presented by Quartier des spectacles. 200 amateur dancers took part in this line dancing extravaganza. Photo: Robert Etcheverry 2011. TABLE OF CONTENTS Dance Stats Executive Summary 1.0 Introduction ................................................................................................................................................. 1 1.1 Overview - Canada Dance Mapping Study 1.2 Canada Council for the Arts Public Engagement Strategies 1.3 Purpose of the Literature and Data Review 1.4 Definitions 1.5 Methodology 2.0 Dance Dissemination Literature ............................................................................................................... 5 2.1 National Dance Dissemination Literature 2.2 Internal Canada Council for the Arts Reports/Studies (National) 2.3 Regional Reports/Studies 2.4 Youth Participation in Dance 3.0 Review of Dance Data Sources .............................................................................................................
    [Show full text]
  • Program 3 Bedroom Folk Sharon Eyal & Gai Behar
    Program 3 Bedroom Folk Sharon Eyal & Gai Behar Poesía Serge Bennathan Minus 16 Ohad Naharin May 9 10 11 @BALLETBC AN ARTSLANDIA #BALLETBCPROGRAM3 #TALKBALLET PUBLICATION JOIN THE BALLET BC E-LIST: BALLETBC.COM Queen Elizabeth Theatre Program 3 Bedroom Folk Sharon Eyal & Gai Behar Poesía Serge Bennathan Minus 16 Ohad Naharin Learning Guide The goal of this Learning Guide is to help students engage fully with the dance performance featured in Ballet BC’s 2018/19 production of Program 3 at the Queen Elizabeth Theatre. TABLE OF CONTENTS 3… Welcome from Artistic Director 4… About Ballet BC 5… Interview with Serge Bennathan by Pia Lo 6… About Ballet BC’s Program 3 8… About the Artists 15… Before the Performance Lesson I - Dance 18… Before the Performance Lesson II - Storytelling 19… After the Performance Lesson III 20… Continue Your Exploration Ballet BC would like to thank Diamond Foundation for their generous support of Ballet BC’s Student and Community Dress Rehearsal program. Ballet BC acknowledges the financial assistance of the Province of British Columbia for Ballet BC’s Outreach and Education Program. 2 A message from Ballet BC WELCOME TO PROGRAM 3, the final program of a memorable season! Thank you for joining and supporting us as we commemorate 10 years of inspiring dance under the artistic director of Emily Molnar. After touring across Canada, we return to Vancouver to present a celebratory evening of intriguing works. This season concludes with a riveting mix of dance, music, and design, featuring long-time col- laborators Sharon Eyal and Gai Behar’s North American premiere of Bedroom Folk, followed by a world premiere by the poetic Serge Ben- nathan, and ending with the much-anticipated return of Ohad Naharin’s playful and interactive Minus 16.
    [Show full text]
  • 2017/18 Join Us As a Subscriber for the 2017/18 Season and Get the Best Seats at the Best Price!
    2017/18 Join us as a subscriber for the 2017/18 Season and get the best seats at the best price! Elena Lobsanova 2 17/18 Season A Message from Artistic Director Karen Kain The National Ballet of Canada’s 2017/18 Emergence will form this sensational trio of season shows the company in all its versatility, ballets, demonstrating, if proof were needed, the dramatic exuberance and artistry. richness, strength and range of choreographic talent at work in the country today. Our Fall Season sees the return of Christopher Wheeldon’s glorious adaptation Also new this year will be the world premiere of Shakespeare’s The Winter’s Tale. The ballet of a work about the great Canadian was a stunning success when it premiered, filmmaker Norman McLaren by the legendary with critics and audiences alike praising its theatrical visionary Robert Lepage and gifted emotional depth, brilliant choreography and choreographer Guillaume Côté. With two stagecraft. As well, John Neumeier’s masterful such brilliantly creative forces collaborating, and intensely poetic Nijinsky, likewise this will undoubtedly be the highlight of our an enormously popular and theatrically Summer Season. enthralling work, will revisit our stage, Along with The Sleeping Beauty and our always following our highly-anticipated performances crowd-pleasing version of The Nutcracker, the of the ballet in Paris. return of Alexander Ekman’s wildly provocative I’m thrilled and proud that our Winter Season Cacti, the Canadian premiere of Paz de la Jolla will feature a full evening of three remarkable by American choreographer Justin Peck and works by Canadian choreographers.
    [Show full text]
  • Soviet Bodies in Canadian Dancesport: Cultural Identities, Embodied Politics, and Performances of Resistance in Three Canadian Ballroom Dance Studios
    SOVIET BODIES IN CANADIAN DANCESPORT: CULTURAL IDENTITIES, EMBODIED POLITICS, AND PERFORMANCES OF RESISTANCE IN THREE CANADIAN BALLROOM DANCE STUDIOS DAVID OUTEVSKY A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO May 2018 © David Outevsky, 2018 Abstract This research examines the effect of Soviet Union era indoctrination on dance pedagogy and performance at DanceSport studios run by Soviet migrants in Canada. I investigate the processes of cultural cross-pollination within this population through an analysis of first and second generation Soviet-Canadian ballroom dancers’ experiences with cultural identity within the dance milieu. My study is guided by questions such as: What are the differences in the relationship between national politics and dance in the Soviet Union and Canada? How have Soviet migrant dancers adapted to the Canadian socio-economic context? And, how did these cultural shifts affect the teaching and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and affords me unique entry into their world. To contextualize this study, I conducted an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carried out qualitative interviews and class observation of Soviet- Canadian competitive ballroom dancers at three studios in Ottawa, Toronto and Montreal. The research conducted for this dissertation revealed various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures.
    [Show full text]
  • Proquest Dissertations
    THE STATE OF CANADIAN DANCE AND DANCING WITH THE STATE FROM 1967-1983 By Katherine Cornell, B.A., M.A. Toronto, Ontario, Canada, 2008 A dissertation presented to Ryerson University/York University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Program of Communication and Culture Toronto, Ontario, Canada, 2008 ©Katherine Cornell, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-40489-8 Our file Notre reference ISBN: 978-0-494-40489-8 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • With Its BAM Debut, Ballet British Columbia Celebrates 10 Years of Emily Molnar's Artistic Leadership Program Includes Willia
    With its BAM debut, Ballet British Columbia celebrates 10 years of Emily Molnar’s artistic leadership Program includes William Forsythe’s Enemy in the Figure, Emily Molnar’s To This Day, and Crystal Pite’s Solo Echo Bloomberg Philanthropies is the Season Sponsor Ballet British Columbia (Ballet BC) Choreography by Crystal Pite, Emily Molnar, and William Forsythe BAM Howard Gilman Opera House (30 Lafayette Ave) Jun 13—15 at 7:30pm Tickets start at $20 May 7, 2019/Brooklyn, NY—Ballet BC makes its BAM debut in celebration of 10 years of Emily Molnar’s artistic direction. In a decade’s time, Molnar has turned the financially strapped company into one of the most potent dance forces in Canada, with a determined focus on contemporary ballet and artistic collaboration. Ballet BC presents three contemporary creations tracing a common lineage to the influential William Forsythe, the former director of Ballett Frankfurt—in which Molnar and Crystal Pite both danced. The program starts with his 1989 masterpiece Enemy in the Figure. With a wavy wall and a pulsating rope dissecting the stage, a rhythmically driven score by Thom Willems, and dancers in and out of shadows, Enemy in the Figure remains mysterious and exhilarating. Molnar’s To This Day is a celebration of Molnar’s fruitful tenure at the company. Inspired by and set to the music of Jimi Hendrix, the piece reveals the intimate and daring space where the blues meets her expressive style. Solo Echo by Crystal Pite is inspired by Mark Strand’s poem Lines for Winter and set to two Brahms sonatas for cello and piano (the Allegro non troppo movement of the E minor, op.
    [Show full text]
  • MA Thesis Document
    DANCING FOR CANADA/DANCING BEYOND CANADA: THE HISTORY OF THE NATIONAL BALLET OF CANADA AND THE ROYAL WINNIPEG BALLET’S INTERNATIONAL TOURS, 1958-1974. by Nadia van Asselt A thesis submitted to the Department of History in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada Final (QSpace) submission May, 2021 Copyright ©Nadia van Asselt, 2021 Abstract This thesis traces the growth of the National Ballet of Canada (NBC) and the Royal Winnipeg Ballet (RWB) through international ballet exchanges and reveals how foundational they were to the companies’ current reputations. In the mid-twentieth century, the development of Canadian ballet was intertwined with international exchanges because the Canada Council of the Arts viewed national success as synonymous with international success. The National Ballet of Canada and the Royal Winnipeg Ballet developed different ways of being viewed as Canadian while abroad and established themselves as noteworthy cultural institutions. This thesis is also a study of the non-state actors’ role – ballet companies’ personnel, artistic directors, dancers, and media – in producing or furthering diplomatic relations with host countries and how they either upheld or contradicted state interests. Chapter two examines ten years (1958-1968) of negotiations between the NBC and the Instituto Nacional de Bellas Artes to show how the NBC used Canadian cultural policies and Canada’s national language to attain international tours that focused on fostering the company’s growth. Also, the tour resulted in the NBC building a relationship with Mexico without much help from the government. Chapter three studies the RWB’s engagement with Jamaica for the country’s independence celebrations in 1963 from the perspective of non-state actors – the dancers, media, and private sectors – to understand the motivations in carrying out state interest.
    [Show full text]
  • Ukraine and Its Dance
    University of Alberta Bereznianka: Becoming Symbolic by Vincent Arthur Rees © A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Ukrainian Folklore Department of Modern Languages and Cultural Studies Edmonton, Alberta Fall 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-46977-4 Our file Notre reference ISBN: 978-0-494-46977-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Yes I Dance: Yes a Survey of Findings from from Findings
    Findings from Yes I Dance: A Survey of who Dances in Canada canadacouncil.ca canadacouncil.ca Canada Dance • Mapping conseildesarts.ca Study http://canadacouncil.ca/council/research/find-research Cover image: Le Continental XL, choreography by Sylvain Émard, a Sylvain Émard Danse and Festival TransAmériques co-production, co-presented by Quartier des spectacles. 200 amateur dancers took part in this line dancing extravaganza. Photo: Robert Etcheverry 2011. Findings from Yes I Dance: A Survey of Who Dances in Canada FINAL REPORT Submitted to: Claire McCaughey Head, Research and Evaluation Section Canada Council for the Arts [email protected] EKOS RESEARCH ASSOCIATES INC. July 21, 2014 EKOS RESEARCH ASSOCIATES Ottawa Office 359 Kent Street, Suite 300 Ottawa, Ontario K2P 0R6 Tel: (613) 235 7215 Fax: (613) 235 8498 E-mail: [email protected] Toronto Office 51 Wolseley Street Toronto, Ontario M5T 1A4 Tel: (416) 598-8002 Fax: (416) 533-4713 Email: [email protected] Winnipeg Office 7 Prominence Point Winnipeg, Manitoba R3Y 0A9 Tel: (204) 221-9923 E-mail: [email protected] www.ekos.com TABLE OF CONTENTS Acknowledgments ................................................................................................... v Executive Summary .............................................................................................. vi 1. Introduction .................................................................................................. 1 1.1 Overview .................................................................................................................
    [Show full text]