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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 .. -
Ballet of Canada
'$ # '·"'~-M' :\ \ ~>t 1975: The Creative Woman: ~trlcia Beatty, An , 'fJttSoutHam Editorial Susan Cohen Editor / Redactrice S1 one de Beauvoir's oft quoted remark that "it is in La remarque familiere de Simone de Beauvoir a l'effet que CL. t re that women have best succeeded in asserting " c'est dans le monde culture! que la femme a le mieu :"'e e lves" is especially true in dance and particularly reussi a s'affirmer" s'avere particulierement vraie dans le Canadian dance in 1975, International Women's domaine de la danse et surtout sur la scene canadienne. s Selma Odom, a professor of dance history at en 1975, an nee internationale de la femme. Pour emprun J iversity, puts it in her article, "it is almost ter quelques mots de !'article de Selma Odom, professeur - ·· to f ind the number of their accomplishments d'histoire de la danse a l'Universite York, " ii est presque .... : e fiel d. The Canadian women who have made etourdissant" de constater la latitude qu'on a accordee a ions to dance are many. As teachers, organizers la femme aujourd'hui et l'ampleur de ses realisations dans 3. :: ::e...,ormers , they have genuinely shaped the dance ce domaine. On ne compte plus les canadiennes qui ont :- • -·e:'"'at we know. In the list we find the three founders contribue a la danse, leur nombre est trop imposant. :· =-· ....,a;or ballet companies, Gweneth Lloyd, Celia Comme professeurs, organisatrices et artistes, elles ont = a- :a a~ udmilla Chiriaeff, Betty Oliphant, principal of laisse leur marque; elles ont en fait fa<;:onne l'art de la a: -ial Ballet School, Monique Michaud, first dance danse que nous connaissons. -
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. -
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. -
Oct 2013 Ballet Plasters
Artifact of the Month – October 2013 Ballet Chalkware: 1950s Kitsch Anyone who has ever taken ballet lessons is probably guilty of forcing porcelain slippers or ballerina ornaments on their teachers as end-of-year gifts. The world of ballet has not been immune to the commercialization that has resulted in kitschy merchandise to line the walls of studios and living rooms. At Dance Collection Danse, an army of plaster ballet dancers was lovingly collected by founders Lawrence and Miriam Adams because they felt it was important for the collection to demonstrate how the public outside the profession views dance. Though depicting positions that evoke ballet technique, most of the figurines would certainly receive a stern glance from any répétiteur. Known as chalkware and made with plaster-of-Paris, the figures are often garishly coloured and embellished with swirls and flowers, or are mounted on decorative metal grids. I’m Amy Bowring, Director of Collections and Research at Dance Collection Danse. I welcome you back to another edition of Artifact of the Month after a brief hiatus during which we moved our headquarters to a new space. We now have a larger research centre and a gallery for exhibitions. We hope that you will visit us at our new home. Now back to the Artifact-of-the-Month. Mid-twentieth-century chalkware was often mass produced for home décor or as carnival prizes until carnivals replaced the delicate plasters with sturdier stuffed animals as winnings. Many are hand-painted and, though mass produced, have a unique quality. Canadian manufacturers include Devonware, Winnipeg-based FavorWare and Girotti Sculptured Art in St. -
Artifact of the Month Feb 2013 V3
Artifact of the Month – February 2013 Lawrence Adams and The Brick A simple red brick – such an innocuous artifact and yet the story that it represents is key to both Canada’s dance history and the history of Dance Collection Danse. This acrylic brick was constructed by Lawrence Adams in 1974 as part of a media installation at the A Space Gallery in Toronto called Mr. and Mrs. Adams Present. Lawrence collaborated with his wife, Miriam, and their show included an audio journey, sculptures of bricks, a slide show, photography and video dance. Bricks were a recurring theme in Lawrence’s art work in the 1970s. When the Adamses founded the group 15 Dancers in 1972, Lawrence gave a performance at the debut concert where he angrily kicked a brick wall to a sound track of a Richard Nixon speech. In another show, he built a brick wall accompanied by Mahler’s Fifth Symphony. In 1975, Lawrence built a 10x30- foot Styrofoam brick that he floated down Ottawa’s Rideau Canal. And in the work Another One, he recited the virtues of the brick with images showing tiny people walking and riding bicycles on gigantic bricks. I’m Amy Bowring, Director of Collections and Research at Dance Collection Danse. Twenty years ago, I came to Dance Collection to do research and had my first encounter with Lawrence Adams. An imposing figure with substantial greying sideburns, he invited me in and brought me the box of materials I had requested. While I was focussing on the details of a house program, I suddenly heard him say, “Who are you?” There was something in the way he posed the question that made me realize that I could not give him a standard answer. -
Headlines Dance Ontario Welcomes Amy Hampton to the a P R I L - J U N E As Project Coordinator
New Project Coordinator at Dance Ontario headlines Dance Ontario welcomes Amy Hampton to the a p r i l - j u n e as Project Coordinator. She can be reached at [email protected]. 2 0 1 3 2012 publication (Free with membership) ON SALE $15.00 CALL 416 204 1083 [email protected] headlines is a publication of DANCE ONTARIO Association. Founded as a Regional Chapter of DICA and incorporated not-for-profit (1985), the Association is a dynamic cross-section of the dance sector from internationally renowned companies to individual dance artists DANCE ONTARIO ASSOCIATION 15 Case Goods Lane, #304 Toronto, Ontario M5A 3C4 T (416) 204 1083 Toll Free 1 800 363 6087 [email protected] www.danceontario.ca DANCE ONTARIO gratefully acknowledges io Award For Lifetime Achievement. (including 4 Cabinet Ministers), 10 Progressive Con- the contributions made by Dance Ontario Call the Ontario Arts Council, All submissions must be received by April servative and 6 New Democrat. the Toronto Arts Council, For Submissions 30, 2013 and will be passed to the Awards Commit- At the meetings, there were 10 advocates Ontario Trillium Foundation, Department of Canadian Heritage tee who will initiate the process of selection by from dance communities across Ontario. and our members province-wide. Creative Partnership appointing a jury of peers appropriate to assess the We will endeavour to further develop STAFF Program— nominations received. these relationships and advocate for the broader Rosslyn Jacob Edwards Dance Ontario's Creative Partnerships Your submission should include the fol- arts community for increases in funding for the Kathy Lewis lowing information:: sector in the leadup to an anticipated provincial Kate Cornell Program will provide $2,000 in production/ Amy Hampton (maternity leave) creation support to each of two choreographers - Name, address and contact information of the election. -
Dance in Canada Association (A Non Les Ballets Jazz: a Tough Decade 14 Profit Organization
les ballets Jazz■ drfiontreal Summer Session Session d'ete '83 June 27 - August 28 27 Juin - 28 Aout CURRICULUM: JAZ.Z - BALLET - TAP MUSICAL THEATRE THEATRE MUSICAL MODERN (LIMON) MODERNE (LIMON) WORKOUTS AEROBIC JAZ.Z CHOREOGRAPHIC ATELIERS WORKSHOPS CHORtGRAPHIQUES with Company Members Avec membres de la compagnie WRITE TO RECEIVE OUR BROCHURE ECRIVEZ-NOUS POUR RECEVOIR NOTRE DtPLIANT MONTREAL TORONTO QUEBEC LAVAL 1231 Ouest Ste. Catherine 207 Adelaide St. E. 777 Cote des Glacis 1950 est, Blvd. de la Concorde Montreal, P.a. Toronto, Ont. Carre d'Youville Duvernay, Quebec tel. (514) 849-6071 M5A 1M8 Quebec G1R 3R1 H7G 4P5 tel. (416) 862-7114 tel. (418) 694-0244 tel. (514) 669-9211 Issue Number 35 Spring 1983 Printemps Michael Crabb Editor/Redacteur FEATURES Holly Small "As God and the Spirits Would Have It" 2 Assistant Editor/Redactrice adjointe Paula Ross and Company Leslie Manning 7 Jack Cunningham PETER RYAN Advertising Representative/Publicite Charters Litho Inc. Photo-Gallery: The Experimental Scene 9 Production MARY REID Published quarterly by Dance in Canada Association (a non Les Ballets Jazz: A Tough Decade 14 profit organization. registration .lt0022 1-22-23) 38 Charles Street East. Toronto, M4Y !Tl , Ontario, (416) 92 1-5169. Genevieve Salbaing Speaks Out Peggy Macleod Managing Di rector. The views ex pressed in PAUL CITRON this publication are not necessarily those of Dance in Canada Association. All rights reserved. CopyrightCI 1983 by the Dance in Canada Association. Subscript ions: $10/year; $ 18/ two years; $15 institutions. Outsi de Canada add $3.00. Back issues are ava il able in microfi lm from Mi cro media Ltd .• Sing the Body Elastic 17 144 Front St. -
Répertoire International Des Archives Et Collections Spécialisées Dans Le Domaine De La Danse
Répertoire international des archives et collections spécialisées dans le domaine de la danse Étudiants: Ermeline Jaggi, Jonas Beausire, Camille Besse RESUME Dans le cadre du cours « Réalisation d’un projet documentaire », dispensé à la HEG durant le semestre d’automne 2014, les étudiants ont été mandatés pour réaliser un répertoire d’archives à missions similaires que celles de la Collection suisse de la danse, en vue de favoriser la mise en place d’un réseau international pour les archives de la danse. 1. Europe ......................................................................................................... 5 1.1 Allemagne .................................................................................................................................. 5 1.1.1 Tanzarchiv Leipzig e.V. ....................................................................................................... 5 1.1.2 Deutsches Tanzarchiv Köln ................................................................................................. 6 1.1.3 Deutsches Tanzfilminstitut Bremen ................................................................................... 7 1.1.4 Archiv der Akademie der Künste ........................................................................................ 8 1.1.5 Bibliothek der Palucca Hochschule für Tanz Dresden ........................................................ 9 1.1.6 Pina Bausch Foundation ................................................................................................... 10 1.2 Angleterre -
Steel Pamela R 2020 Phd.Pdf (2.293Mb)
EXPLORING THE LIFE AND WORK OF GLADYS FORRESTER: A CANADIAN DANCE EDUCATOR, 1936-1998 PAMELA RAE STEEL A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO JANUARY 2020 © PAMELA RAE STEEL, 2020 ii ABSTRACT The current body of literature regarding dance history in Canada is informative and expanding, focusing predominantly on professional schools, dancers, choreographers and companies. There is much yet to be said, however, regarding individual dance educators, their instructional practices and influence on the subject of Canadian dance evolution and culture. This research investigates one mid-twentieth century, Toronto dance teacher, Gladys Forrester, expanding the body of knowledge specific to her career and contributions within the context of Toronto (and Canadian) dance history. Through archival and oral language research methodology Gladys Forrester’s professional dance and teaching praxis comes to light. This study describes issues and lays bare existing specific “phenomena” in order to gain greater insight into historical events (Sagor 156). The goal to understand Gladys Forrester’s dance practice and pedagogical philosophy enables an exploration of the Toronto dance culture of her time, clarifying her legacy and influence on today’s dance community. In addition, research aims to represent the “human experience” of the subject in such a way that “readers or viewers” are drawn into the “interpretive process” of making meaning based on their own reading and reality (Cole and Knowles 11). The exploration of materials provides insight into the life and work of a forgotten voice and presence in history. -
2016-2017 Student Handbook 2 Table of Contents
2016-2017 STUDENT HANDBOOK 2 TABLE OF CONTENTS Introduction ............................................................................................................................... 4 Our Mission and Mandate .......................................................................................................... 5 History ....................................................................................................................................... 6 Joint Program with York University ............................................................................................ 6 Dates to Remember 2016-2017 ..................................................................................................7 Staff and Faculty ....................................................................................................................... 8 Biographies ............................................................................................................................... 9 Faculty and Guest Artists ........................................................................................................... 11 Student Body and Graduates ..................................................................................................... 13 Performance Opportunities ........................................................................................................ 14 The School and the Community .................................................................................................. 15 An Overview of the