Wholesale & Retail Inquiries Pavlova's Pointe Ltd. Ballet Shop & Boutique 35 West 8 Street• New York, NY 10011 • 212 / 260-7885/260-2248 ..______...,ancewear Designed by Dancers for Dancers ______. 3 Photo-Gallery: EDITOR: Michael Crabb __,,.:::;-_ce and Irreverence in La Robert Etcheverry 15 ASSISTANT EDITOR: Holly Small ~·ropole MANAGING DIRECTOR: P.-\NET-RA YMOND IN REVIEW 19 Richard Mortimer NOTICEBOARD 39 ADVERTISING : Ruth Batey ntre avec Vincent SPECIAL THANKS TO ADMINISTRATIVE ASSISTANT: 7 The Ministry of Culture and Lloyd Wallingford Recreation, Ontario DESIGN: Dreadnaught The Canada Council 12 BC Cultural Fund Printed in Mississauga by . -n·is's Decade of Creativity Garden City Press .-...... ""\. GILDINER © Dance in Canada Association 1981

SUES Dance in Canada is published ber 03874. nous disposerons des fonds neces­ quarterly in Toronto, Canada by Return postage guaranteed. saires. past issues of Dance in Dance in Canada Association. Please send notification o.f change Abonnement: $7,50 par an. Prix - :nagazine are available in The publication Dance in Canada of address, subscription orders and du numero: $2.00. number. If you are missing is included with membership in . undeliverable copies to: Tous drois reserves. II est defendu es and would like to com- Dance in Canada Association. Dance in Canada/Danse au Canada de reproduire toute partie de cette . ur collection, send a Dance in Canada Association is 100 Richmond St. E., Suite 325 publication sans avoir prealable-- or money order for $2 per registered as charitable organiza­ Toronto MSC 2P9 . ment obtenu le consentement ecrit ::..e, postage included. Please tion number 00441-22-13-Dona­ de tout auteur et de la revue Danse • e number and date of the tions are tax deductible. Dance in Canada est publiee trimes­ au Canada. ,·ou want. The views expressed in the articles triellement a Toronto, Canada par Pour recevoir les vieux numeros de in this publication are not necessar­ !'Association de la Danse du Can­ Danse au Canada en microfilm, ;;posons d'un nombre ily those of Dance in Canada . .The ada . adressez-vous a Micromedia Limit­ .:ie vieux numeros de Danse publication is not responsible for L'Association de la Danse au Can­ ed, Box 502, .:.1:i. Si un numero vous the return of unsolicited material ada est enregistree comme or: Station's', Toronto, Ontario MSM . ..:.e et que vous vouliez unless accompanied by a stamped ganisme beneficiaire. Le numero 4L8. ·r pour completer votre self-addressed envelope. d'enregistrement est 00441-22-13. ISSN 0317-9737 -:·on, veuillez envoyez un Les dons faits I' association seront Le numero recommande de la ou un mandat-poste Dance in Canada publishes in the a admis en deduction. Les membres poste deuxieme classe 03874. e numero coute $2.00 port language of origin, English or de /'Association de la Danse au Le frais d'envois paye. . ·out en indiquant le numero French. We will be returning to Canada recevront d' office le revue S'il vous plait faites parvenir votre · te d e chacun. our complete bilingual format whenever funds become available. Danse au Canada. changement d'adresse, les abon­ Subscriptions: $ 7. 50 per year. Les opinions exprimees dans les nements et les numeros non livres DITS Single copy $2.00. articles de cette publication ne au bureau Danse au Canada. ·Chapman, p. 42; John Co­ All rights reserved. No part of this sont pas obligatoirement celles de .;,. 6; Anthony Crickmay, publication may be reproduced Danse au Canada. COVER: . :: Ronald Diamond, p. 19; without prior written permission Le tedaction n'assume aucune David La Hay and Annette av Paul :-t Etcheverry, p. 3, 4, 5, 14, of the individual contributor and responsabilite quant au renvoi de of Les Grands Ballet Canadiens in 16. 17; Barry Gray, p. 41; the Dance in Canada magazine. materiel non solicite, moins que a Brian Macdonald's Hangman's Reel, Le-Anh, p. 30; Greg Mc- Back issues of Dance in Canada celui-ci ne soit accompagne d'une part of the company's repertoire - n , p. 33; Victor Minner, p. 9; are available in microfilm from enveloppe--reponse affranchie et for performances in New York re­ auga Times, p. 13; Jack Micromedia Limited, Box 502, addressee. viewed in this issue by Linda Small. • ell, p. 7; Andrew Oxenham, Station 's', Toronto, Ontario Danse au Canada publie les articles Photograph by Ronald S. Diamond _: Paul Pascal, p. 37; Leslie E. MSM4L8. dans leur langue d'origine, anglais of Montreal. . p. 42 ; Riku Virtanen, p. 39; ISSN 0317-97 37 ou fran~ais. Nous retournerons a . West, p. 27. notre formule bilingue des.que FOCUS 81 an international dance programme august 10 - 28

Macdonald Campus; Ste-Anne-de-Bellevue; Quebec 20 miles west of Montreal

further info: DANSEMAR P.O. Box 36, Ste Anne de Bellevue 01,1e. H9X 3L4 tel: (514) 457-2106 DANCE IN CANADA 2

Canadore College P.O. Box 5001 The North Bay, Ontario P1B 8K9 George Brown ARTS PER I ENCE

College Which ·way to North Bay? Why North Bay? Because if you're Interested in DANCE you won't want to miss Lois Smith Artistic Director Ron Daniels Renee Rouleau Lois Smith

Visual arts and crafts, dance, music. 12th Annual Three weeks, July 6 - 24.

We believe our program Is unparalleled, the setting magnificent, and the people Summer of North Bay the friendliest anywhere.

School of So please, do come and share with us Artsperience '81 . , Dance For further information phone: 1-800-461-9513 toll free fune 29-August 7, 1981 • _. _ ~r_:~i~h~s~~n~ .c~~': ~o~: - J:.. Faculty Includes DC106 To: ARTSPERIENCE Brian Macdonald Box 5001 NORTH BAY, ONTARIO Sandra Caverly-Lowery P1B 8K9

Donald Hewitt Yes, I'd like more Information on Artsperlence. Please rush me complete Information as marked. Brenda Matthias Tiejun Zhang □ VISUAL ARTS O DANCE □ MUSIC NAME ______

ADDRESS ______l unior Dance

School ______Postal Code ______fune 29-fuly 24, 1981 D Check here If you would like travel Informa­ tion from the North Bay Travel Bureau. Contact The George Brown College School of Dance P.O. Box 1015, Station B, Toronto Ontario MST 2T9 Is there someone else to whom we can send Telephone ( 416) 363-9945 Information as well? 3 DANSE AU CANADA anet-Raymond w Currents in ntreal: Innocence and verence in La Belle Metropole

:·eal est devenu un centre vital de la et experimentale, qui est toujours en In 1948 the artistic and intellectual life e '11o derne et avant-garde au Canada. train de se consolider. Des artistes moder­ of Quebec was closeted and eonstricted __ la deuxieme Guerre Mondiale des nes ou nouvelles nous presentent une by a social and political environment ·:rices telles que Franfoise Sullivan, grande variete de styles tandis que des which combined dictatorial attitudes e Renaud et Franfoise Riopelle ont solistes etrangers et de petites compag­ with mindless censorship. A sense of . "Ie ala danse une nouvelle vigueur nies etrangeres venus en visite offrent frustration and anger built up among a : peu apeu cree un milieu artistique beaucoup de choix aux spectateurs. group of progressive artists and thinkers -·.uilite des innovations dans le do- Les programmes de la danse que con­ and finally vented itself in a movement .e de la danse. Elles ont rejete l'at­ tinuent a developper les universites de called the Refus Global. The artists who :pbere esthetiquement debilitant, la Concordia et de Quebec a Montreal ap­ signed the movement's manifesto were, · re ridicule et les attitudes trap au- puyent et augmentent cette activite creat­ in effect, both revolutionaries and pio­ : .zires aui avaient jusque-la etouffe la rice. neers. Frans:oise Sullivan, a painter and .istique de Montreal. Cet article examine la carriere de plu­ choreographer, epitomised the vitality of Des compagnies telles que le Groupe sieurs artistes de la danse montrealais et the Refus Global when she stated: 'Dance ·~ Place Royale et le Groupe Nouvelle fait un expose dels communaute progres­ is a reflex, a spontaneous impression of e sont nees. Au cours des annees siste de la danse dans cette ville. emotions which are vividly felt'. x:mte-dix elles ant devloppe une nou­ Those who shared her ideal were few culture de la danse, fort innovative at first but in the years that followed a DANCE IN CANADA 4 cast of animateurs was assembled. The prodigal daughters came back from Paris whence they had fled in search of intellec­ tual and artistic inspiration. Fran<;oise Riopelle and Jeanne Renaud teamed up ' as the founders of a small troupe. To­ gether with dancers from Les Grands Ballets Canadiens, Vincent Warren and Peter Boneham, they tried to reach out to a wider public. It was not until 1966, with the found­ ing of Le Groupe de la Place Royale by Renaud and Boneham that all these earlier labours bore fruit - but the long process of gestation had been necessary. Soon after, Martine Epoque nurtured a company of her own into existence, Le Groupe Nouvelle Aire, and the phe­ nomenon of a new kind of dance began to excite and attract artists from other fields. It was as if an oasis had material­ ized in what had formerly seemed to be only an arid desert. The dancers were no longer nomads in this desert. They had set up camp and the curious and needy flocked in search of good modern dance training and per­ haps even a chance to perform. Most of the pioneers, those who gave life to the desert. have remained faithful to the dance - even if sporadically. Fran­ <;oise Riopelle produces theatre-dance for her small cluster of actors and Jeanne Renaud, on the other hand, has been instrumental in laying a variety of cultural foundations : from Le Groupe de la Place Royale she became a driving force behind the Canada Council's Ex­ plorations program; then on to run the Dance Section of the Ministry of Cultur­ al Affairs in Quebec City. Now, she is back in Montreal, teaching movement at Edouard Lock the National Theatre School. The title means labyrinth. Pendulum arm to be a remedy for our psychic ills'. If you were to try to pinpoint a prime movements and dervish turns ·1ead to a Apart from her painting and chore characteristic of the Montreal dance sudden paroxysm and sudden ending. graphy, Fran<;oise Sullivan also teaches scene it would be variety in which the Et la nuit ala nuit, is more recent and creative process in Concordia Univer­ two most significant ingredients have more complex. She describes it as an at­ sity's dance department. been innocence and irreverence. Fran­ tempt 'to recreate for a moment a climate On the other side of the same fa · <;oise Sullivan, prolific both as painter of emotion, of innocence and intensity, tree, interspersed with stray, protrudi and choreographer, is among the endur­ which are part of my subjective evocation branches, there is the Nouvelle Aire ing innocents, possessed of an unsullied, of ti1is epoch when ritual, magic and tingent. Their style, generally, favours enquiring vision. Her work has an am­ art were intermingled'. The 'epoch' is · some element of drama and explorar: bience and texture that evoke a range of paleolithic, and later. Her metaphors in of human bonds. A couple of years ag natural sources: mountains, brooks, movement are drawn from the moun­ there was a mass exodus from the gro ruffled and torn paper, sticks and string. tain, the stream and fabled goddesses; and these gentle rebels have quickly es­ The style is unmistakable, rooted in all elements of fixed or fluid strength tablished themselves as strong expone rituals and history, circles, energies. that hold the power of renewal even now, of the second generation in modern d Three years ago, Sullivan revived a although, as she says, 'we ask our art to Daniel Leveille's Incest, for a pregn 1948 work, Dedale for Ginette Laurin. fulfill a task which is almost impossible, Ginette Laurin and Gilles Simard, evo 5 DAN SE AU CANADA · -:: sic) a graceful neo-classi­ .,,_...... ,L'-- ,;th highly energetic _ ::...,d falls imbued with re­ ns and unspoken longings. _:11te will shortly be pre- - a-iventum - a theatre space · an d experimental arts. Giard and Daniel Soulieres : begun to create their own _ e received grants to com- :. er choreographers to con­ e es for them. T he results .--'.~.ea and inconsistent - a pro­ •• rackers, some with wet fus­ ·-h loud bangs, slow fizzles, _ ?lain duds. _::ice scene has matured it has -""""''~-·-:-e although the cross~flow •in::ro:1s and styles also forms --:ele Febvre, director of the __ eat the Universite de Quebec ·QAM) has sown the seeds - ·,·orking style. She herself - r one of the amply padded ::-: Frarn;:oise Sullivan's Et la

___ .,-e rained at UQAM could • .,.;;y passage to Nouvelle Aire : Qui Danse. The latter, origi­ . -ed by Dena Davida, was a • the pressing need for Mon­ ~ ,...... rs to meet and understand Sylvie St. Laurent in Pas. Qui Danse series. • •. There was, until four years one asked. Her approach is certainly various Contact people. Tansey has toil- ··:i.:nework within which dancers serious, to observe movement and to ed alone for years, culling her inspira- • - creatively regardless of style. minimalize its energy or to chart the tions from nature, poetry, observations · - various activities Qui Danse minute details which she then isolates of everyday situations and from the -::-ea platform on which new and amplifies. Her statements, whether voice. She's a colourful cha'racter but a -: ::ie mounted, examined and they be with film, grating noises, apples sensitive and elusive performer - impromp­ • :: constructively by artists work­ or buckets, dwell within a carefully con­ tu appearances in improbable places at ?eratively. structed world that bursts forth with a unpredictable times. Her work has -g those breaking away from fresh spontaneity: no artifice, just the humour and comedy. Sometimes, as in -~-:·.~. --infl uenced tendencies to ex- genuine expression of a filtered and her collaborations with poet Penny Kemp .a ory and more progressive focused vision. Since her return from a and Richard Sommer, it yields lyrical and f""aphy is Edouard Lock. Original- government-sponsored ( and sensational) romantic movement. Apart from her -e:na student, Lock has cultivated tour of France she has become interested teaching at Concordia she works private­ !llllllllL.:::J.. eye for detail in everyday move­ in aikido and hang-gliding! ly with many of the younger members of .thin clear frames that vault the Another independent whose roots go the local dance community. r logical track. back to the early Judson Church days is Members of the all-female Contact :-;iajor success, Lily Marlene in the Jo Lechay a mature and experienced Improvisation group, Catpoto, have at bl ended allusions, real and im- American choreographer/performer some point experienced Tansey's me­ · o the famous singer. It was rich whose technique aims at releasing, thods. Carole Harwood, Gurney Bolster, _-es and innovative movement Lock through breath, all the joints and articu­ Dena Davida and Evelyn Ginzburg estab­ and intellectual and manages to lations, going beyond the blocks in one's lished themselves as a collective, an out­ .;.::-:d a point of view without being body while sparing the muscles from growth of Davida's Contact workshops, graphical. In a recent article he overly strenuous work. She builds in 1977. ;: innovative dance to an unmarked stamina and diminishes tics acquired Dena Davida has now moved on to .:ch the critic opens, tastes and through classical and contemporary further her own choreographic work as .. ::iels so people can know what styles. She talks of the 'chi' or 'ki' - well as to promote Quebec's only inde­ ·e getting. the energy centre of the body and in her pendent, artist-run dance space, Tangente, - ·ation in dance does not normal­ own movements you perceive the power danse actuelle. This was opened less than :he newspaper headlines, but and cycle of energy constantly expand­ a year ago by Davida, Howard Abrams, C o uinard attained notoriety ing and returning to the source . Louis Guillemette and myself and has .• e performed a work that involv­ Other independents who have evolved played host to a variety of Canadian and ~-acing into a bucket and masturbat­ particular methods of working are the American artists who perform and give on stage. So, is this dance? every- improvisationalist, Vicki Tansey and the workshops. In this way, the local dance DANCE IN CANADA 6

scene is enriched as artists find them­ space. It is a meeting place for movers of selves able to experience and explore in all kinds, a place to rehearse, take class, personal ways the approach and style of talk and exchange useful information - all other performers. Tangente has offered in a totally relaxed, open atmosphere diverse fare that explores both familiar which extends even into the audiences and highly innovative and experimental at performances where generous-spirited dance forms. curiosity seems the guiding spirit. Tangente is more than a performing The development of dance within

Compagnie de Danse <:&ldy <:Joussaint

Rattachee a la Compagnie. l'Ecole de Danse Eddy Toussaint offre des cours de ballet classique. Jazz,moderne. a tousles niveaux.

Pour de plus amples information au suJet de spectacles et tourilees. M.Yves Lahaie. directeur des tournees.

551 rue Mont-Royal est. Montreal. Oue. H2J 1 W6 527-7770 524-3749 DANCE IN CANADA 6 the higher education system in Montreal (see Dance in Canada Number, 2 7) may well prove to be a new breeding ground for creative dance artists. The vitality of the dance community in Montreal has radiated outwards, attracting interest from within Canada and from the United States. The city buzzes with an infectious excitement derived from its vibrant cul­ tural life and highly charged political energy. For the first time the Dance in Can­ ada Association will return to the same city for its annual conference. The first Montreal conference was held in 1974. Much has changed since then, much has grown, much is about to happen. Those who come to Montreal will surely be charged by the excitement that resounds through this city's dance community.

scene is enriched as artists find them­ space. It is a meeting place for movers of selves able to experience and explore in all kinds, a place to rehearse, take class, personal ways the approach and style of talk ·and exchange useful information - all other performers. Tangente has offered in a totally relaxed, open atmosphere diverse fare that explores both familiar which extends even into the audiences and highly innovative and experimental at performances where generous-spirited dance forms. curiosity seems the guiding spirit. Tangente is more than a performing The development of dance within

Compagnie de Danse C£ddy ~ussaint

Rattachee a la Compagnie, l'Ecole de Danse Eddy Toussaint offre des cours de ballet classique, jazz, moderne, a tous les niveaux.

Pour de plus amples information au suJet de spectacles et tournees. M .Yves Lahaie. directeur des tournees.

551 rue Mont-Royal est. M ontreal. Que. H2J 1W6 5 27-7770 524-3749 7 DANSE AU CANADA

Dance in Canada 100 Richmond Street East, Suite 325 Toronto Canada M5C 929

•e ancers, w o sees every- . ce '. Vincent Warren's vision been all-embracing and he been open to fresh approach­ ~- .Vow he teaches in Montreal, ;be artistic wisdom which ,.me of Les Grands Ballets' _.,... ,,,,.-• .i.mcers.

•IIIC's.-,e :oujours un vif plaisir a parler _-:~Warren! Un de nos artistes ersatiles et un homme d'une cul· __ tionnelle. II est I 'un de ces --eurs qui se tiennent au courant -e qui se fait clans le domaine de _..u;:::,...::. Toutes !es facettes de cet art -e:--- de I 'interesser et ii en parle "',H"ec curiosite et enthousiasme. '..Ir, curieuse d 'en savoir davan­ •. i, je lui ai demande de me ~e a vie professionnelle. Voici a ·ompus ce qu'il m'a raconte. _:-s '.'age de onze ans j'ai eu l'occa­ • ··oir un film , Les Chaussons --•,.=.,- Ce fut pour moi la decouverte ,_u]eur . .. rouge. . vert ...... bleu. J'etais frappe par la fan- - · e la danse. J e me suis mis a col- Vincent Warren in Swan Lake, 1964. -,ier tout ce que je trouvais sur ce technique, mais, lorsque je suis arrive a Il est parmi les rares . ·e c une petite amie, je donnais New York, j'ai realise tout le chemin qui danseurs qui demeurent - tacles clans !es salons. Maintenant me restait a faire. J'ai tout de meme ob­ au courant de tout ce qui tenu une bourse pour etudier au Ballet se fait dans le domaine de ~se un peu ... Theatre et une autre pour le Metropoli­ la danse. a:, par la suite, suivi des cours de tan Opera. J'acceptais des invitations de •• a\·ec Betty Hyatt, une ancienne jeunes choregraphes. ]'ai aussi decouvert ~se de Balanchine, qui nous a en- Antony Tudor, un homme que je trou­ 'Heureusement, je n'ai pas eu· a subir - -e des choregraphies influencees par vais tres etrange - cynique. II jouait avec ce genre d'experience. Nous savions taus · de son maftre. Entre 12 et 17 ans, le monde psychologique de ses eleves sur­ qu 'ii fallait travailler tres fort et je le ·.2bite avec ma mere et, pour gagner tout ceux-la qui gouaient !es pretentieux. savais encore plus que !es autres. Je vou­ ie, j'enseignais aux enfants. C'etait un maftre assez inflexible mais · lais danser avec taus ceux que je decouv­ _e croyais posseder deja une certaine qui donnait de bonnes classes. rais et mon desir le plus cher etait de 7 DANSE AU C A ;',, ADA eanne Renaud encontre avec incent Warren

. is co nversation with Vincent Warren, •1e Renaud - herself a pioneer of the ·em dance in Montreal - describes the :ic gifts that made Vincent Warren .1 versatile and accomplished dancer years with Les Grands Ballets Can­ - ,is_ A ccording to Renaud, he is one · . ose rare dancers, 'who sees every- ,, in dance'. Vincent Warren's vision •311ce has been all-embracing and he .u· ays been open to fresh approach- 2d ideas. Now he teaches in Montreal, : 1g on the artistic wisdom which ""c him one of Les Grands Ballets' : loved dancers.

__ rouve toujours un vif plaisir a parler ·:ncent Warren! Un de nos artistes us versatiles et un homme d'une cul­ ·e exceptionnelle. II est l'un de ces danseurs qui se tiennent au courant _ ·out ce qui se fait dans le domaine de :.anse. Toutes les facettes de cet art :-~in uent de l'interesser et il en parle _·o urs avec curiosite et enthousiasme. Cn jour, curieuse d'en savoir davan- • _ sur lui, je lui ai demande de me _. er de sa vie professionnelle. Voici a ·:ons rompus ce qu'il m'a raconte. · 'ers !'age de onze ans j'ai eu l'occa­ de voir un film, Les Chaussons :1ges. Ce fut pour moi la decouverte _ '.a couleur ... rouge . . vert ... _:1e ... bleu. J'etais frappe par la fan­ ·ie de la danse. Je me suis mis a col­ Vincent Warren in Swan Lake, 1964. •• .ionner tout ce que je trouvais sur ce technique, mais, lorsque je suis arrive a II est parmi les rares ;:c. Avec une petite amie, je donnais New York, j'ai realise tout le chemin qui danseurs qui demeurent spectacles dans les salons. Maintenant me restait a faire. ]'ai tout de meme ob­ au courant de tout ce qui ::-sque je pense a cette epoque, ca m'em- tenu une bourse pour etudier au Ballet se fait dans le domaine de • :rasse un peu ... Theatre et une autre pour le Metropoli­ la danse . ·1 'ai, par la suite, suivi des cours de tan Opera. J'acceptais des invitations de et avec Betty Hyatt, une ancienne jeunes choregraphes. J'ai aussi decouvert ::iseuse de Balanchine, qui nous a en­ Antony Tudor, un homme que je trou­ 'Heureusement, je n'ai pas eu- a subir _gne des choregraphies influencees par vais tres etrange - cynique. 11 jouait avec ce genre d'experience. _Nous savions tous -~~-es de son maftre. Entre 12 et 17 ans, le monde psychologique de ses eleves sur­ qu 'il fallait travailler tres fort et je le - habite avec ma mere et, pour gagner tout ceux-la qui gouaient les pretentieux. savais encore plus que les autres. J e vou­ ,·ie, j'enseignais aux enfants. C'etait un maftre assez inflexible mais lais danser avec tous ceux que je decouv­ "Je croyais posseder deja une certaine qui donnait de bonnes classes. rais et mon desir le plus cher etait de DANCE IN CANADA 8

ARTPARK DANCE FES'llVAL

faire partie de la compagnie du Ballet cevoir une choregraphie assez bien struc­ Theatre_ turee, mais mon besoin de m'exprimer, 'J'adorais aussi Balanchine, mais je moi, est ailleurs. Cela ne me satisfait pas, trouvais que la compagnie du Ballet j'ai essaye'. Theatre etait plus theatrale, plus hu­ Vincent a une memoire remarquable. maine, moins froide. Puis, finalement, Lorsqu'il venait travailler une choregra­ c'est au Met que j'ai ete accepte. J'etais phie, ii devait parfois nous quitter une heureux et je me donnais entierement a dizaine de jours pour aller en tournee. A Pennsylvania Ballet mon travail. Je dansais de tout mon son retour, ii reprenait le travail ou ii "An aristocrat of dance companies .. :· etre ... mais ce n'etait pas encore la l'avait laisse, retrouvant aussitot !'esprit New York Ttmes grande technique. de !'oeuvre comme s'il y avait travaille August 11-16 'Je decouvrais !'opera, j'entendais la tous Jes jours. Cela Jui permettait d'ac­ · Callas, la Tebaldi. Quelle epoque extra­ cepter plusiers spectacles rapproches Jose Limon ordinaire! ]'adore !'opera. J'ai danse sans trop de crainte. Lorsque nous dan­ Dance Company avec Maggie Black et d'autres bonnes sions avec Jui, nous nous sentions en "... a company very much a vital danseuses. Puis j'ai quitte le Met pour toute securite et notre execution en force in the world of modern dance." l'ecole de !'American Ballet Theatre ou devenait plus genereuse. C'etait toujours New York Daily News j'ai suivi Jes cours de Aboukoff qui de­ un plaisir de l'accueillir comme artiste August 18-20 veloppait beaucoup la vitesse des jambes, invite. 1iibute to Pavlova et ceux de Vladimiroff qui avait ete un 'Celui qui respecte le des partenaires de Pavlova.' Presented by The Pendleton createur et qui traduit les Festival Ballet. Vincent se defend d'etre un bon tech­ intentions de celui-ci August23 nicien . . . ii le regrette et, en meme toutes ses possibilites temps, ii a conscience de se disperser d'expression et en accord The National Ballet clans plusiers domaines etrangers a la avec ses desirs '. of Canada danse. Je lui demandai alors sa definition d'un grand interprete: 'Celui qui respecte II Jui arrivait parfois de mettre en One of the world's great classical companies. le createur et qui traduit les intentions doute la choregraphie elle-meme ou des August 25 - September 3 de celui-ci avec toutes ses possibilites aspects plus techniques. II Jui fallait d'expression et en accord avec ses desirs'. croire a!'oeuvre, sinon ii se lan\ait clans Tickets are now on sale at all Je comprends tres bien ce que Vin­ de longues discussions. Toujours tres re­ Tlcketron outlets and the Artpark cent veut dire, ayant travaille avec lui, spectueux du travail des autres, ii se con­ Box Office. For more Information. write Artpark Brochure. Box 371. tant comme choregraphe que danseuse. fondait en excuses lorsqu'il s'apercevait Lewiston, N.Y. 14092. Or call (7 16) 754-9001. II a toujours tenu compte de ses par­ trop tard qu 'ii avait cree une resistance. Artpark Box Office Telephone: (716) 754-4375. tenaires de travail et sa sensibilite ex­ Mais au fond cette resistance etait sou­ There will be a 75¢ service charge per ticket for all telephone orders. primait tres bien ses interventions. Je Jui vent !'occasion de mises au point tres reconnais une qualite exceptionnelle a utiles pour tout le monde. ce sujet. II a une grande admiration pour Par instinct, ii comprenait plus vite Jes createurs: 'La creation', dit-il, 'est en que d'autres artistes et ses connaissances dehors de la technique, c'est une explo­ facilitaient la communication et !'integra­ sion lib re. Je ne suis pas createur. J e crois tion des formes d'art. 'Balanchine m'a que L'on naft, createur. Je peux con- beaucoup marque. Plus tard j'ai voulu 9 DANSE AU CANADA

~~ourner a New York et travailler ses nant plus loin qu'autrefois sur le plan de voulais danser enfin et je n 'avais plus la -oregraphies. J'etais a la premiere de la technique. Noverre disait pourtant a patience d'etudier a New York. ~011 de Stravinsky. C'etait admirable. ses danseurs: 'Enlevez les masques, !es 'Je suis done venu pour deux mois. es danseurs n'etaient pas toujours a la costumes et laissez s'exterioriser !'emo­ Madame etait un grand 'coach'. Son - ... uteur de createur, mais c'etait un defi tion'. Plus tard Isadora a exalte ces qua­ cote humain me touchait et c'est grace J.Ssio nnant parce que la choregraphie lites. Meme si je m'interesse a tout ce qui a elle si je suis encore au Canada. Mais _.3.it tres difficile a interpreter.' se fait aujourd'hui, je continue d'adorer je voulais aussi vivre la danse moderne. Decrivant l'etat clans lequel se sent un Le Lac des Cygnes ; j'ai adore danser J e suis done alle voir un spectacle donne ...;.nseur apres un spectacle, ii James Waring, Aileen Passloff, Toby .::·autres moments, les artistes et le public Esplanade, clans laquelle l'interprete Armour et David Gordon. II y avait le mmuniquent merveilleusement. Lorsque marche et court, et je trouve cela tres Judson Church ou tous !es danseurs suis le public, je ne suis plus le danseur beau: c'est du mouvement qui n'est pas d'avant-garde se presentaient. Je con­ ~t · m'arrive aussi d'etre decu! Mais la fonctionnel '. tinuais de travailler avec !es GBC. Puis, -nse m'emeut toujours ... et parfois je 'C'est Ludmilla Chiriaeff qui est venue Fernand Nault est venu monter Casse­ . is emu au point d'en pleurer'. me chercher a New York. Elle venait Noisette et Anton Dolin, Giselle . Je lui demande s'il lui arrive aussi de faire passer des auditions et elle m'avait :::eurer clans sa vie privee. 'J e vis seul, je remarque. Lorsque j'etais venu en tour­ ' ... on pouvait mainte- -e suis intimement lie avec personne et nee avec Le Met a Montreal, j'avais ren­ nant faire carriere et etre -:on emotion s'exprime a travers les arts. contre des danseurs des GBC que j'aimais reconnu, ici, a Montreal.' Cest ma fa9on a moi de communiquer. bien. J'avais un peu de reticence a cause . e sens le style plus que la technique, les de ce nom. Je trouvais que <;a faisait pre­ 'Plus tard je suis alle au Guatemala ~ al ites humaines plus que la virtuosite. tentieux. Mais j'aimais la compagnie. Une danser Giselle avec Christa Mertins. ::m rtant j' admire !es grands virtuoses. excellente danseuse, Marguerite Mercier, J'etais tres pres d'elle, nous dansions au taintenant que je suis professeur, je et bien d'autres aussi, m'avaient frappe meme rythme. J'ai ete invite a danser e\'iens tres exigeant. De temps en par leur interpretation, mais c'est .avec plusiers troupes durant cette : rn ps, je suis frappe de surprise . . . peut­ 'Madame' qui m'avait impressionne le periode: 'summer stock', !'Opera de : re parce que !es danseurs vont mainte- plus: elle etait aussi belle que Garbo! Je Santa Fe, Jacobs Pillow, et autres. Un DANCE IN CANADA 10

Vincent Warren in John Butler's Catulli Carmina. jour j'ai rencontre un jeune danseur, tout comme mes racines. Les GBC Peter Boneham, et je lui ai demande de etaient a leur apogee. C'etait l'epoque venir a Montreal. II a danse avec les GBC de Ludmilla Chiriaeff, Fernand Nault, et ensuite avec vous. Peter et moi sommes Uriel Luft, et le repertoire etait mervail­ restes amis depuis ce jour. A cette epo­ leux. J'etais mis en valeur, j'etais heu­ que, je n'etais pas certain de rester avec reux et je me sentais en pleine forme. Je !es GBC et j'avais un ami a New York, suis tombe en amour avec !'Europe et je Frank O'Hara. Je voulais le rejoindre et voulais rester la-bas. Nous etions traites peut-etre danser avec la compagnie de comme des artistes, tandis qu'en Amer­ Balanchine ou abandonner ma carriere ique, c'est different ... de danseur et aider Frank, mais ii est ']'ai ete invite a danser avec la troupe mort dans un accident de voitu~e. Et de Joseph Lazzini mais, a part la chance cela m'a laisse un grand vide. Les GBC d'avoir ete le partenaire de Claire Som­ ont aussi laisse partir Christa Mertins. bert, ce fut une erreur. Je garde un tres C'etait ma partenaire, je l'aimais beau­ beau souvenir de Chauvire qui est venue coup et son depart m'a attriste. Puis, un dans ma loge. Ce que j'aimais la vie jour, ce fut la tournee des GBC en Eu­ parisienne! rope. Je l'avais attendu toute ma vie, ce 'Tatiana Grantzeva, une femme qui voyage. Ma culture etait europeenne, m'a beaucoup marque! C'est un grand 11 DANSE AU CANADA -· fesseur; elle exigeait beaucoup de moi a cree pour moi Adieu Robert Schumann __ =·ai besoin de <;a. J'ai danse avec avec Annette av Paul, Maureen Forester .;-Jaine Thesmar a la television et avec et Denise Masse. J'ai beaucoup aime - · ne Charrat et Russillo pour Anne danser cette oeuvre; Maureen est une si _ranger de la television. Je decouvrais grande artiste! . , ses musees, son architecture et ses 'Cette derniere soiree a Montreal pour ~a res. ]'ai aussi signe un contrat avec mes adieux m'a terriblement emu et ?era de Cologne dont le repertoire j'etais touche de !'attitude du public _ .emblait un peu a celui des GBC. montrealais pour la danse. J'etais sur­ _x-ci avaient demande que je retourne volte et ce n'est que deux jours plus tard _:: eux pour six mois. Mais je suis que je realisai ce que cet evenment avait ::1.be malade en Allemagne. ete pour moi. J e pensais qu 'on pouvait maintenant faire carriere et etre recon­ omment pourrais-je nu, ici, a Montreal. Comment pourrais- · ser cette ville?' je laisser cette ville? Je veux aider tout _elques mois plus tard, je suis re- le monde de la danse et j'espere que tous _;-u a Montreal et j'ai danse Tommy de pourront en profiter.' _ t, un role interessant, et l'Oiseu de Vincent a toujours voulu partager de Bejart, qui etait un defi technique tous ses succes, sa generosite est sa~s stimulant. Puis Brian Macdonald est limite. II me dit encore: 'Maintenant, _-:u comme choregraphe invite et, plus j'aime enseigner, la danse est tres dur; • . il est devenu directeur artistique. aussi, apres avoir vecu comme inter­ __: eu comme partenaire a ce moment· prete pendant plusiers annees, je me e jusqu 'a la fin de ma carriere, une tres sens tres bien aujourd'hui clans l'enseigne­ _ 'e danseuse, Annette av Paul, et aussi ment'. Parses qualites particulieres et -- ia Vartanian, Sonia Taverner, Jerelyn son experience, comme par sa chaleur _-:a et Sylvie Kinal-Chevalier. Si je humaine, nu! doute que Vincent Warren - -~e de mes partenaires c'est que celles­ saura transmettre a ses etudiants son ::.:a.ient tres importantes clans ma vie. ouverture d'esprit et !'amour de son art. _ :aisais danser Jes ballerines, et c'etait r moi une joie et non un devoir. A la -- de ma carriere de danseur, Macdonald

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Judy Jarvis est devenue directrice de sa approach to the elements of dance, such propre tro11pe en 1974, mais en fait, ses .as music or movement, might develop or premiers programmes choregraphiques, undergo a process, as it were. But when remontent a une bonne dizaine d'annees. I asked Jarvis if this had been the case Depuis qu'elle dirige elle s'est sans cesse with her work, she said no. The question efforcee de promouvoir une politique even seemed to take her aback. artistique constamment ouverte aux Jarvis, who exudes a sort of floating idees nouvelles et de souligner le role vulnerability like a hypersensitive an­ essentiel joue par !'impulsion creatrice. tenna wafting in the everchanging winds L 'importance numerique de sa troupe a of the world, says that her pieces are connu des fortunes diverses mais Judy inspired by anything from a strain of Jarvis s'est toujours sentie parfaitement music to a pair of eyes - 'moments of a l'aise dans ce climat d'incertitude. Elle life', she calls them - and then shaped a pris !'initiative d'introduire progressive­ into individual works. Any artistic direc­ ment dans son repertoire des oeuvres tion guiding these pieces and shaping plus tongues. Cosmos est une recente them into a growing body of work with illustration de cette tendance. C'est une developmental momentum, is informed oeuvre qui s'inspire des celebres theories by her concept of openness, which ap­ de Carl Sagan et qui peut etre adapte pears to play as fundamental a role in pour s'addresser soit aun public d'adultes her approach as does process and is equal­ soit a un public de jeunes. ly difficult to pinpoint. Flux is a given in the world of dance, but Judy Jarvis has made a virtue of it 'Process' should be declared an endanger­ by transforming it into openness. 'I've ed word these days! It's used to describe always been open to different experienc­ everything from bureaucratic data-bank­ es', she says, to explain why one season ing to what's done to cheese: all of which the company consists of 12 dancers and would be fine if only people told us just the next of only two. The longest time what the process of the process is. Simi­ any dancer has remained with the com­ larly, it's a word that Judy Jarvis repeats Jarvis exudes a sort of pany is four years, a record held by often when discussing her career as a floating vulnerability like Pamela Grundy who has since joined the dancer, choreographer and artistic direc­ a hypersensitive antenna Danny Grossman Dance Company. tor. But it's as difficult to get her to de­ waftmg in the everchang­ The years have seen not only a parade fine the changes that the processes pre­ ing winds of the world. of dancers but also 'hundreds of short- sumably entail as I imagine it is to find er works' dealing with 'just about every­ out how milk becomes Velveeta. 'solo artist'. However one chooses to thing you can think of'. Although she is First things first, however. Before describe the intervening four years and hesitant to establish just when she did you can find out what changes something what process Jarvis was undergoing dur­ become an artistic director, Jarvis claims has undergone, you have to try to pin­ ing them, the fact remains that an entity that, in spite of the ebb and flow of the point where it began. According to its bearing her name has now been in exis­ company, she has al.Jvays maintained sponsor's information, the Judy Jarvis tence for more or less a decade. There's artistic direction. Ri'ght ,n!, for in­ Dance Company has been performing also another clue hidden in the mystery of stance, she is hoping,to ·ca e her company under its namesake's artistic direction the company's origins: Jarvis has obvious­ in the direction of_longer orks. It's not since 1970 when it became the first con­ ly been strugglinlg to find a comfortable that the process of ~evelo-ping her ideas temporary dance company to tour un­ balance between the two heads of that has changed, it's just tliat_she now feels der the Prologue for the Performing Arts familiar and sometimes unwieldy crea­ capable of sustaining longer pieces. 'I'm program. Jarvis herself would prefer it to ture, the artist as artistic director. ready for it', she says. 'I vwant to develop be said that, until the company's incor­ A decade is a long time and it seems larger themes, as I did i~ Cosmos, which poration in 1974, she was working as a likely that during it a choreographer's is an entity unto itself. I like the idea 13 DANSE AU CANADA shoulders. 'You have to find out how people respond to freedom and an ex­ change of leadership', she says. 'But if you open the doors to experimenting you need courage because an open door gets results and you're the one, as artistic director, who has to be able to take re­ sponsibility for those results and to know what to do with them.' It was an inter­ esting experiment, but Jarvis feels that her current company members are more inclined towards performance than an ex­ change ofleadership. She says that they're younger and less experienced than, for instance, Larry McCullough and Danny Grossman (with both of whom she has worked collaboratively in the past) and are therefore less 'colleagues' than per­ formers in need of an artistic director. All the same, Jarvis is happy with her current company and pleased at the pros­ pect of doing longer works with them. When I press for details about her vision of the company's future she reiterates that primarily she wants to remain crea­ tive and that the future will bring its own results - the most important thing is the process. orking on productions now, rather 'You have to find out how _;-: pieces of dance.' Cosmos is a full people respond to free­ for mance piece based on anthropo­ dom l!{ld an exchange of :: Jogist Carl Sagan's theories of man leadership.' ;: -he universe, or, as the program for a winter performance described both understandably disgruntled. Not _bout 'the creative forces in the uni- only because artistic toes had been ___ e'. The company performs segments trampled, but because Jarvis had received .: for its adult programs and the entire a Canada Council grant to create Cosmos _ce usually for children, because of the and they couldn't very well have reviews ~lanatory dialogue in it that's aimed at appearing saying that she hadn't! She :::n. subsequently considered changing the Ho w Cosmos came into being is an program notes to read that Cosmos had : resting question. Like many choreo­ been choreographed by herself (after all, -?hers, Jarvis relies heavily on impro- isn't the concept Sagan's?), with assis­ -ition with her company members, tance from Atkinson. Now it appears ronfo_r __ rrently Ingrid Remkins, Sallie Lyons, that they will be changed to attribute mmengchool .2-rgaret Atkinson and one apprentice, choreography solely to herself. In a tele­ 1, nee BRANKSOME HALL : _san Green). She may even rely on it phone conversation, Jarvis explained fhat, JUNE29-JULY31, 1981 -: re than most because of her early while Cosmos was in the making, she had FA CULTY Diana Jablokova-Vorps, Director _ckground in expressionist dance with fallen ill for three days, during which Marcia Crossley, Lorraine Green 3.TY Wigman. (She has also worked col­ Atkinson took over, 'but everyone had lnria Gutnik _· oratively at times in the past, notably inpuf. The actual cosmos was probably GUEST TEACH ERS· LORNA GEDDES and :h Larry McCullol.\gh in 1971-72 and created more simply. Cosmos was one of HAZAROS SURMEYAN _bsequently with Danny Grossman, · a couple of important experiments Jar­ Th e National Ballet o f Canada _:h whom she created Bella, a fanciful vis ventured into over the past year. Not DANCE CURRIC ULUM· Ballet Technique, Pointe, Character, .-e duet performed atop Mary Kerr's only was it a longer work involving more Repertory, Variations, Partnering, _~earn-sized horse.) The winter program formally acknowledged input from the and Jazz Ballet. Body Placement Classes for Adults - .:es claimed that Cosmos had been 'con­ company members, but it also appeared RESIDE NCE ACCOMMO DA T/O NS :.::Yed by' Judy Jarvis, with choreogra­ on a program that contained works cho­ Classes for all levels of professionally :-.:cic assistance from Margaret Atkinson. reographed solely by various members oriented dance students- _;_zzled by the cryptic notes - who of the company. FOR BROCHURE WRITE TO : Carl D. Vorps, General Manager, ~ ,oreographed this thing, anyway? - Jarvis now feels more relaxed about Toronto Summer School in Dance, · . :rote a review for The Globe and Mail her role as artistic director. She feels less 15 Armour Blvd., --:·stakenly attributing the choreography pressured by press and public expecta­ Toronto, Ont., Canada M5M 389 (416) 782-2292 (416) 489-7597 : At kinson. The company manager, tions and her responsibilities to the com­ ~arriet Stroud, and Judy Jarvis were pany members sit more easily on her

15 DANSE AU CANADA

hoto-G allery: obert Etcheverry

Ginette Laurin and Paul-Andre Fortier obert Etcheverry photographie les me~­ que partagent [es practiciens de cet art, 'Dancers seem such meek, shy people but es de ['avant-garde montrealaise de la et c'est la Libre imagination de la com­ when they reach the stage they become J.mse depuis 1977, du Groupe Nouvelle munaute des solistes et choregraphes in­ supermen, filled with energy and power.' _-i..ire jusqu 'au groupuscule d'artistes qui dependants de Montreal. Thus Montreal-based photographer, o.:zraissent en public sous les auspices de Il aime suivre son instinct pour capter Robert Etcheverry explains his fascina­ i.i serie Qui Danse. Apres avoir ete lui­ les visages de la danse a!'aide de son tion with dance and dancers - one that meme danseur - u_n bref episode au debut Canon AE 1, muni d'un Ilford HPS qu'il has come to occupy an increasing amount Jes annees 70 - Etcheverry a fait d'abord developpera sur Microphen. of his ·professional time as the Montreal Jes etudes d'architecte . .. pour ensuite Robert Etcheverry norrit ['ambition dance scene itself witnesses an explosion ~edecouvrir la danse par le biais de la d'innover et d'experimenter asa fa9on, of activity among independent choreog­ rbotographie, sa nouvelle vocation. Ce et de monter des expositions ou figurer­ raphers and solo artists. qui l'attire, c'est l'energie et la puissance ant !'utilisation de multi-images et la Robert Etcheverry sees the camera as multi-projection de diapos. a device for exploring human action, OPPOSITE PAGE Margie Gillis mood and emotion. Although he studied DANCE IN CANADA 16 dance in the early seventies it was not In his work, Robert Etcheverry strives multi-images of the same choreography until 1977, when he set aside his archi­ for an instinctive response to the mood in a tableau and for a slide show utilizing tectural training in favour of photogra-: and emotion of particular dances. He up to 25 projectors. His own imagina­ phy, that he found his way back to dance. therefore favours the convenience and tion finds comfortable companionship Starting with Le Groupe Nouvelle Aire, flexibility of a miniature format (his among the new dance artists of Montreal. Etcheverry soon was involved with the standard camera is a Canon AE 1) and vital group of dance artists appearing in high-speed film (Ilford HP5 often rated Montreal's Qui Danse series of concerts. as high as 3200 ASA and developed in The innovative approach of these dancers Microphen). and their sensitive awareness of other con­ Robert Etcheverry has ambitious OPPOSITE PAGE Monique Giard temporary art-forms appeals strongly to plans for a show of dance pictures pre­ and Daniel Soulieres the photographer. sented by sequence through a series of BELOW Gilles Simard and Paul-Andre Fortier

Date/Corporate Sponsor Prognimme/ Choreognipher Principal Casting Tuesday, July 7th - 8 p.m. IntheJ)n'SenCPo/HerRoyal DapblUS et Chloe/ Ashton Merle Park, Anthony Dowell with members of The Toronto Mendelssohn Choir. Sponsored by: Hi1hness, The Princess Margaret, A Month In the Country/ Ashton Marguerite Porter, Anthony Dowell Barclays Canada Limiltd Countesso/Snowdon *Gloria/ MacMillan Jennifer Penney, Wayne Eagling, Julian Hosking, Wendy Ellis with members of The Toronto Mendelssohn Choir . Wednesday, July 8th - 2 p.m. Dapbnls el Cbloe/ Ashton Marguerite Porter, Mark Silver Sponsored by: A Month la the Country/ Ashton Merle Park, Michael Coleman Brltbll Airways *Gloria/MacMillan VenUe Derman, David Wall, Julian Hosking, Wendy Ellis with members of The Toronto Mendelssohn Choir. Wednesday, July 8th -8 p.m, Dapbnls et Chloe/ Ashton Jennifer Penney, Anthony Dowell with members of The Toronto Mendelssohn Choir. Sponsored by: Scenes de Ballet/ Ashton Lesley Collier, David Wall W. H. Smith. "Your Best Choice in Books" *Gloria/ MacMillan Jennifer Penne}'., Wayne Eagling., Julian Hosking_, Wendy Ellis with members of The Toronto Mendelssohn Choir. Thursday, July 9th - 8 p.m. *Isadora/ MacMillan Merle Park, Monica Mason, David WaJI, Stephen Jefferies, Derek Rencher, Derek Deane with Sponsored by: actress Mary Miller. The Royal Bank or Canada Friday, July 10th - 8 p.m. *Isadora/ MacMillan Sandra Conley, Monica Mason, Julian Hosking, Stephen Jefferies, Derek Rencher, Derek Deane with Sponsored by: actress Mary Miller. BP Canada/ The Financial Times, U.K. Saturday, July I Ith - 2 p.m. Swan Lake/ Pecipa, Ivanov, Ashlan Jennifer Penney, Wayne Eagling. Sa1urday, July I Ith - 8 p.m Swan Lake/ Petipa, Ivanov, Ash1on Lesley Collier, Anthony powell. Sponsored by: Jquar Cars Canada Sunday, July 12th - 3 p.m. Swan Lake/ Petipa, Ivanov, Ashton Marguerile Porter, David WaJI. Sponsored by: Sun Ufe Assurance Company of Canada *Canadian Prtmitrts Casting and Programming Subject to Change The Royal Ballet wishes to acknowledge the generous support given by the corporate sponsors, The British Council and The National Ballet of Canada. North American Tour Management by The Metropolitan Open.

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TO ORDER TICKETS: Picas( note: There is no per1icke1servicecha,gc on Bramalea City Centre Sherway Gardens Leah Posluns Theatre Boll Office. Hoon: 9:30 a.m. - 9:30 p.m., I . lnPeno11 BASS service charae on 1ic keupurch&5-eda1 BASS Fairview Mall Squa,eOnc.Mil.s1Jsauga 4583 Ba1hurs1S1 Mon. to Sat . 10 ■ .m. - II OW O'Kttft CentR 1ick.etspurch&5-edat1he ouik:u Oshawa Shopping Centre Yonge / Eglinton Ccnirc Nonh of Sheppa,d 5p.m.Sun. Bo.110ffk-t O'Kttfe Centre Boll Office. Sca,borough Town Centre BASS ■ I : Please Note: There is a 75t Bo.110Hiceopen II a.m Ar•a..nrbr BASS ■ t Dominion The Cumberland Trnace 2. By Pho~ per ticket + 7Stperorder 6 p .m., Mon. to Sat. (Bo.11 Office OurJns. Burliniion Mall A&>. Records. downtown C.all691-l6l6 seMCechargcwhenplacing openun1i19p.m.onthe BASS111heBay DonMillP1a.z.a Zoundi. 2822 Eglin1on Ave . E. and use your VISA or tclcphoneordeu night of the performance.) Please: Notr: There is a 75r Bloor & Yonge Cenirc Mall. Hamilton at Danfonh Rd MASTERCARD Telephone BOX OFFICE NOW OPEN! 19 DAN SE AU CANADA nReview

Les Grands Ballets !or's Aureole is an encyclo­ Canadiens pedia of all the ways flexing knees affect the look and flow rrman College of the body. Plies, dips, swerv­ w York es of the hips and knees, little - 7 February 1981 skips to the side, drawn up knees, and just plain unstraight­ ened legs create the work's de­ tiple-identity companies lightfully complex texture - Les Grands Ballets Can­ an eyeful. For the most part, .ens bring out all the nagging Les Grands Ballets made each eyticism in me. I don't be­ quirk of the fabric crystal ~ ·e that dance companies clear, particularly in the work's ": be, or need try to be, all third, fourth, and fifth move­ :. gs to all people. With its ments. The wonder of the first _ .eerie repertory for the Feb­ movement's ground-skimming .._ary 7 program - works of propulsion was compromised -:an Macdonald, Paul Taylor, by the airbound impulse of ·s Humphrey and Ruth St. ballet-trained dancers. It was n.is, Maurice Bejart, and as if, instead of stretching rge Balanchine - Les. themselves within Taylor's nds Ballets obviously aim­ luminous space between the ro tell us many things about ground and a spot not far 1f and to satisfy whomever above their heads, the women _ might turn out to be. were ready to shoot high into Like a padded resume, the the air. Dancing the slow se­ gram invited severe dissec­ cond movement solo, Colin . I looked for one pro­ Simpson never found its con­ nd, unified statement that necting thread. What was it Id, in its own unforced about? Did he know? . plexity, provide a realistic Betsy Baron, Andrea Board­ .:ture of the company's man, Helene Grenier, Cather­ th and versatility of talent. ine Lafortune, and Lucie Mar­ :ldn't find it. Yet, because tineau won well-deserved Grands Ballets' dancers cheers from the audience for ge nuinely respectable and their successful Soaring. The eable, I happily anticipate clarity and naturalness of the e day when they will George Balanchine's Capriccio. ms elves - and, ironically, structed by Marion Rice, eal more about themselves - distorting the choreographer's Theatre of Harlem, can set up eschew sentimentality. Obser­ they do now. central intent. All in all, the a lively dialogue with Balan- vers can relax and follow the You can measure the sue- work must live and breathe in chine's clean, sturdy inven- fluid imagery that requires no s of one company's adop­ its new setting. Its dancers tions. Where was Capriccio's extraneous puffery or com­ n of another's work not by must inhabit it, fully, know- sizzle and elan? The corps, led ment from its modern-day -e yardstick of carbon-copy ledgeably, and in rangible com- by Heather Farquharson, gave performers. Sixty years after ection but by its faithful­ fort. Capriccio (the 'Rubies' it a somewhat blurry and blunt, its premiere, the work retains to the technical standards section of Balanchine's jewels, if enthusiastic, reading. Jerilyn ageless life in the care of Les : the original company. Ideal­ here named after Stravinsky's Dana, the female lead, showed Grands Ballets. the new dancers will satisfy Capriccio for Piano and Or- the strongest technical capa- If Maurice Bejart's feeble .i enlighten audiences who chestra) only served to remind bility, but her manner was and pretentious choreography •·e seen the original company, me of what I was not seeing - arid and impersonal. must come to our continent - overing elusive and valuable New York City Ballet or a Besides being a celebration and, through Canada, sneak in­ :iects of the work but not company that, like Dance of speed and fluidity, Paul Tay- to New York, I'd be happier DANCE IN CANADA 20 with an occasional fun piece of a program should make to help us get through a, cheer­ some kind of internal sense. less season - one of the more The Bejart piece and the Mac­ theatrically daring, full-blown, donald could come from two garish, archetypal three-ring different galaxies. The dancers circuses that are good for a might be able to encompass few laughs and gasps of dis­ both technically but not phil­ belief. The Firebird, besides osophicall y. Assuming that we marring a decent repertory, think about and respond to a LABAN CENTRE FOR MOVEMENT AND DANCE doesn't even have the excuse dance, not just let it float past at University of London Goldsmiths' College of being diverting razzmatazz. our eyes, Les Grands Ballets' New Cross, London SE14 6NW It's dreary revolutionary pos­ programming jars the thinking Tel: 01 691 5750 arid 01 692 0211 ext 276 ter art come to life - if life, in person's sensibilities. the sense of vitality, can be Hangman's Reel, which attributed to this work. In the opened the program, presents name of Stravinsky, you want a technically sure, gracious, to forbid the dancers to con­ and attractive company. Thoug:-; DANCE THEATRE STUDIES 1981/2 tinue scrawling Bejart's graf­ it raced on and on a bit too TECHNIQUE CHOREOGRAPHY fiti across the music. long and too insistently (what PRODUCTION (Lighting & Costume) Trouble is brewing among a heady fqst of dancing and and associated additional subjects Bejart's partisans. In their music Macdonald and Jean dour blue proletarian pants Carignan have prepared for us! and jackets, they clump to­ it provided the clearest indica­ Young men and women who wish to work gether, contracting violently, tions of the dancers' classical taking snarled, tortured at­ strengths. David La Hay, par­ in the field of dance in titudes. Suddenly, a small red ticularly, showed impressive, light appears, and the Firebird precise legwork, lovely balance. (Rey Dizon) emerges from the PERFORMANCE - CHOREOGRAPHY - PRODUCTION and personable flair. As the group. He leaps, pirouettes, errant fiddler whose musical TEACHING - COMMUNITY WORK - ARTS ADMINISTRATION and darts, on and on. Presum­ and dancing skills save him RESEARCH ably, we should be impressed from execution, La Hay is MAY FIND ONE OF THE FOLLOWING COURSES OF INTEREST by his freedom. (If a display of very much the soul of Hang­ shallow, shapeless dancing man's Reel, a dance that will does not mean 'freedom' to you, not allow you to resist it. give the choreographer the Shades of the brighter side BA (HONS) DANCE (CNAA) benefit of the doubt. Perhaps of Giselle: the happy towns­ his deep, heartfelt ideas go folk make us all feel pleased, 3 YEAR FULL TIME COURSE limp only under the stage­ at home with the familiar and lights.) The partisans watch the expected. How different a from the sidelines· and are in­ place from that which The DANCE THEATRE CERTIFICATE spired. Their hard-won solidar­ Firebird supposedly inhabits: 3 YEAR FULL TIME COURSE ity is expressed by their sitting no revolution among these in a circle, the first person kiss­ folk, just the most formal ing his palm, pressing that dancing performed in a spirit­ palm to the next one's palm, ed, celebratory way. Ballet for and so forth. Things get more the bourgeoisie. than just normally unclear at Les Grands Ballets' reper­ ADVANCED COURSES (for those this point. I'll admit that, what tory reminds me of an old with prior experience in dance or other fields) with the Firebird's sudden, un­ television game show, To Tell PERFORMANCE and CHOREOGRAPHY accountable demise and the The Truth. The regular panel­ DANCE NOTATION appearance of the Phoenix and ists would hear a fascinating DANCE EDUCATION and his attendant birds in the account of someone's (say, OANCE IN SPECIAL EOUCATION intricately sculpted, curiously John Doe's) adventure and moribund finale, I may have then question a set of three as well as individually arranged missed some significant sym­ guests (one Doe, two impos­ courses of study which may lead to action. I was half-distracted tors), trying to guess which Laban Centre qualifications, or to by thoughts of amending my one was Doe. The host would M.PHIL or Ph.D generation's graffiti, 'The Re­ conclude the questioning with volution Will Not Be Televised, 'Will the real John Doe please to read: 'Nor Will It Be Chore­ stand up?' Well, will the real ographed'. Les Grands Ballets Canadiens I'm most baffled by the please stand up? I'd like to INTERNATIONAL SUMMER SCHOOL idea that a company who see who you actually are and AND DANCE FESTIVAL 1981 brings us Brian Macdonald's watch you explore all your 27th July to 7th August Hangman's Reel, let alone even true conviction, depth, and flawed Balanchine and Taylor, beauty. could do The Firebird and ex­ pect us to believe that it really LINDA SMALL Write for details to: Mr. G. Hutton, Administrator means it. But then, meaning it, if you must do it, is im­ Linda Small is a regular review portant to me. The repertory columnist for Dance Magazine. 21 DAN SE AU CANADA Peggy McCann and seems to lag. and sharp images. It is per­ yet another direction. Both Dancers Peggy Mccann and Susan formed by McCann and two pieces are loaded with move· ..: arbourfront Theatre Cash are typical of this hardy, strong, statuesque dancers - ment, lots of lifts, shifts in :- ronto resilient breed and their re­ Norrey Drummond and Tama direction and dynamic, coup· : February - 15 March cent concerts give evidence of Soble. The three, costumed in lings and groupings and dissolv­ a quaility of work that cer­ pale, irridescent blue, move ing of same. Jamming is one tainly merits attention and with calm self-assurance. Their of those fun pieces where the 2-rb ourfront Brigantine Room support. risky jumps, silent landings, dancers get to wear their own ronto Peggy McCann and Dancers sweeping rolls and crawls flow jeans and dance just for the _ - 22 March is a youthful group brimming one into the other with single­ hell of it, while The Brass with energy and good will. minded determination, creat­ Ring, with its gay, stripey cos· The choreography is the pro­ ing a cool and piercing mood tumes and high spirits seemed llowers of the new dance duct of a richly varied imagi­ that is like a high-pitched to be about something - about -ene have learned to accept nation which at times seems sound made visible. working together, about '.striv­ :..- often confusing ebb and fragmented rather than united The one 'old' work was ing towards a goal; ultimately • w of dancers and choreo­ in purpose. Sampler, premiered at Har­ about hope. Unfortunately, ;:-2.phers from one 'company' Sunday in the Park, a bourfront in January; 1980. for me, the message was garbl­ :, another, from concert to gentle, easy-going piece, relies It is a work in five parts deal­ ed by interference from a most _ ncert. The situation reflects largely on clever masks and ing with the middle class pre­ irritating rendition of Bach by :..-:e difficult, tenuous existence costumes for its effect. The occupations of a 'stay-at-home' the Swingle Singers. . : -he creative dance artist in movement, performed to some wifey. Here, McCann, who is Coming on the tail of so _ ::ultural environment where insipid and all-too-familiar a wife and mother herself, much joyous ba,bble, Cities _esthetic adventure is had only Claude Bolling music, is not offers some frank and often was quite a surprise. It is a ·: the cost of material security particularly interesting or in­ amusing insights into house· very curious choice to end an ·-:d comfort. Yet, despite the ventive. I guess there's only wife life. Shelley Oliver is gen· evening. The theme of cruelty -:irdships, the Canadian dance so much backwards bowing uinely funny in her portrayal and loneliness in the big city _ mmunity has an ever grow-· and swaying and fake playful­ of the expectant mother who hit us over the head with the ;-.g population of determined ness one can take before the hasn't qµite got the hang of sublety of a sledgehammer. ~ oreographers who by guile, sight-gag wears thin. The carrying around all that extra Yet the piece worked because ·-:reats and sheer wilfullness, piece gains strength and focus weight. And as the Granny of the fierce commitment of : mehow succeed in assembl­ only at the end with a scizo­ who wields a mean rocking the performers, particularly .. g companies of dancers to phrenic tango well executed chair, McCann touches more Mccann, whose vulnerable - rform their work. The by McCann herself. Shrike, than just our funny bone. little body got dragged all over ~:ian ces of survival are slim on the other hand, is a no­ Jamming and The Brass the stage and received such a _Jt the pace of activity never nonsense dance of clean lines Ring took the program off in brutal working over one began prismdanEe theatre Artistic directors ,.... isa Cole and Jamie Zagoudakis

Two New Menus Live Music

AVAILABLE FOR BOOKINGS For more information contact: Restaurant 518 West Hastings St. 508 Queen St. W. 363-4171 Vancouver, B.C.V68 1L6 (Open Daily) (604) 681-6715 Sunday Brunch & Dinner too DANCE IN CANADA 22 to fear for her safety. stage in a dramatic shaft of Clearly, Peggy Mccann is light. She looks out deeply unafraid of making her points into her private visions. Some­ plainly. She is not one to thing has been resolved - but couch her ideas in lofty ab­ what? Many of Cash's works stractions and while her grasp have similarly inconclusive of choreographic method and endings, it's almost a trade­ structure is admirable in its mark, yet One Woman, The own right, it is her down-to­ Bridge has a strong and linger­ earth, mortal vision of life ing impact. and art that really matters. She Solo presents Anita Shack is very human. with some very quirky and Susan Cash, also an inde­ surprising movement motifs pendent choreographer, hasn't which she attacks with an en­ been at it as long as Peggy Mc­ viable verve. While the 'stop­ cann, but she too has manag­ start' music (by Patrick Ken­ ed to gather together a group nedy) never lets you settle of dedicated dancers. Cash is into jµst what this dance is, much more mysterious than she holds our attention effort­ Mccann. Often her ideas seem lessly. The costume gives a vague, half-formed, intentional­ subtle suggestion of men's ly obscured - though one never evening dress, yet the move­ doubts the presence of an un­ ment is often sexy, seductive, derlying idea. Her dancers are thoroughly female. And those more self-contained - self­ who have come to expect a absorbed even - not the sort dangling ending are not dis­ to shower an audience with appointed. After Anita's solo smiles and gestures and good is finished a little girl (Cash) intentions. In Las Hermanas appears and twirls a hoola Anita Shack and Nadia Szil­ hoop until it clatters down JEWISH COMMUNITY CENTRE vassy perform a delicate duet around her ankles. Then she 4588 BATHURST STREET with fleeting images of kisses, walks off. WILLOWDALE, ONTARIO M2R 1W6 friendship , conspiracy. They It's worthwhile to note 636-1880 are unconcerned with project­ that, like Peggy Mccann, Cash ing beyond the edge of the is a strong dancer in her own stage and eventually glide off right. This is strikingly evident to their private playground in a duet by guest choreogra­ even before the music finishes. pher Murray Darroch for Cash We are left staring at an empty and James Saya. Entitled eNPOlndYQUr stage, our attention focused Rapid 'It's Me. It's Me' the on the lovely strains of Marjan piece describes an off-beat and Mozetich 's score. appealing relationship between PQtenlrlOII One Woman, The Bridge two rather chic hobos with gives us another glimpse into lots of light and dashing move­ a private drama. To the ac­ ment. companiment of a darkly Cash's approach to music mysterious score by Gordon is intelligent and unconven­ Dance Teacher Training Program Phillips, a woman (Phyllis tional. Rarely does she adopt new in fall of 81 Whyte) looks down into the its structure and rhythm for nightime blackened waters her dances. She often uses it flowing under some deserted as an aural backdrop or rather Full time 2 year diploma program. bridge. She's struggling with 'ground' on which the figures Courses in ballet, modern and jazz something - perhaps suicide? of her dances unfold. In Solo technique, anatomy, pedagogy, music, Her costume - murky green­ the dance weaves in and out dance history, studio management brown rubber pants - makes of the music. In Please Release and much more! one think of the filthy water Me Henry Kucharzyk's clever For information and admission of Venetian canals. Whatever score almost seems to weave requirements contact: this lonely, pale woman has in in and out of itself. The piece The Registrar mind she is diverted from her is extravagantly costumed and Box 1796 fate by the abrupt appearance promises much. But, James Edmonton AB of two similarity clad women Saya's 'thousand and one ways Canada T5J 2P2 (Szilvassy and Karin Wroblew­ to transform a scarf' notwith­ ski). They seem to be denizens standing, it struck me as a of the murky depths she has choreographic prelude. I'm not yet embraced. The two still waiting for her to finish women twist and turn about the rest of the dance. her, dart on and off stage, Grant MacEwan compel her to engage in vari­ HOLLY SMALL Community College ous threatening movement re­ lationships and ultimately disappear leaving her down- 2l DANSE AU CANADA . · ational Ballet of Canada ·Keefe Centre oronto .: February - 14 March 1981

·o major debut or new ballet ~.ieved the tedium of the ·.:nional Ball et's spring sea­ ·:1: instead a sense of mark­ -:, time hung over the perfor- -::ances. The company looked underproduced and so un­ ci plined that one's misgiv­ -:g ab out Alexander Grant's .:.:;ecrorship deepened: where ;:he company headed? What .:oes the National Ballet offer :s dancers - only the classics? Unlike The Sleeping Beauty, S-.;;an Lake did return to the ·Keefe in rather good health. T: e corps was especially scru­ ~:.ilous in the first lakeside · ·ene and the ballroom scene ·as danced with considerable ;:est. Much credit here to George Crumb and his musi­ cans, who maintained a wel- ome consistency in their ;:,'.aying throughout the season. The worry about this first :x:rformance of Lake was ·•aren Kain, not to mention -.er new Siegfried, Patrick :ssell, guesting with the com­ ?any. His striking looks, :-eight, and strength suggest ,.m as a good partner for Kain, ut boyish good intentions do - or a prince make. One won­ .::ers what the management '-.ad in mind, especially as in l..J.ke, but more so in Beauty, Bissell looked decidedly un­ :ler-rehearsed. In the latter, ~or example, both Lorna Geddes and an anonymous Peter Ottmann in Brian Macdonald's Newcomers. a:tendant talked him through :he hunting scene. (Later in ing. Like her sister ballerinas, two of them just failed to . ballet, first danced by the Na­ :he wedding scene Bissell Kain reached a plateau about ignite. Still, one would like to tional in 19 5 5, was revived by suffered a muscle spasm and two years ago, and has not see them dance Beauty to­ Celia Franca and Jean Geddis, -ad to withdraw after the moved beyond it. Why then gether. Like much of the rest Franca's association with Dark • agio. His variation and the hasn't Alexander Grant taken of the repertoire, The Dream Elegies goes back to its pre­ da were omitted, and Peter advantage of his connections looked under-rehearsed. The miere in 1937, when she danc­ Ortmann, costumed for the with the Royal Ballet to bring human lovers have lost their ed in the corps. And, of as de cinq, partnered Kain in Svetlana Beriosova, for ex­ comic timing, and the fairies course, she danced in the Na­ :he finale. And did it rather ample, to coach? Must there need more suppleness in their tional's fir.st production. ·ell, too.) be other departures, like arms and shoulders. These Franca's credentials as a pro­ But back to Kain. Her Lake, Augustyn's, before anyone are matters of schooling, ducer then are solid. And what as later her Beauty, was tenta­ awakens to their responsibili­ though one wonders if the a fine job she and Geddis have ::,·e and unsure. She appeared ties? National should revive works done. Even though there are :o be more than usually con­ With The Dream in the without the supervision of the only six soloists - seven when scious of technique - far less second week lethargy set in. choreographer or producer. you have as fine an onstage 5"' re of the music and less free Not even Anthony Dowell was It's sad to see The Dream be­ singer as Janice Taylor - and :i her dancing. It may be that able to lift the performances ginning to unravel; sad, too, to six members of i:he corps, this < e was nervous and, in the as he had done a year or so see such poor houses. austere ritual of grief filled ·_ht of Bissell 's problems, ago. Veronica Tennant worked Between The Dream and the massive O'Keefe. It is a . stifiably so. But one finds diligently to recapture the ra­ Etudes, the ballet that ended pleasure to note that with each neself harbouring the suspi­ diance of those earlier perfor­ this first mixed program, came successive performance audi­ -ion that her problem is coach- mances with Dowell, but the Dark Elegies. This Tudor ences became more enthusias- DANCE IN CANADA 24 tic, and one hopes that Dark graphy, she provided an emo­ in a solo by Judith Marcuse, is. Since a new production is Elegies does not disappear for tional weight her more classical the fluent and confident young presumably too costly for the another decade and a half - a colleagues could not. But the stars from the Royal Winnipeg management to contemplate, scandal for a company once finest performance was Janice Ballet, Evelyn Hart and David Nureyev should be asked to proud of its Tudor repertoire. Taylor's. Seated at the side of Peregrine in Belong, and lb supervise rehearsals, and Set to Mahler's Kindertoten­ the stage, this young mezzo Anderson, Erik Bruhn, and Georgiadis to reconsider his lieder, Dark Elegies is a simple did not intrude into the danc­ Carla Fracci in a stylish La costumes and sets. set of dances: three solos, a ing though her ardent singing Sylphide. As the man ne-xt to That, and Romeo and Juliet pas de deux, and a group dance filled the theatre as few singers me said in delight over Fracci, (which I did not see), was the preceded by a brief solo. Both can do. Her performance, along 'She has little conversations National Ballet's spring sea­ casts were well-prepared; they with that of George Crumb and with her feet!' son, wherein the company con­ danced unselfconsciously and his musicians, provided the In the fourth week, the tinued to look wasted and without histrionics, except for emotional highlight of the company presented its second rudderless. There are a lot of Veronica Tennant who looked ballet. mixed program, this one, to talented dancers in the Nation­ tense in the shoulders and Etudes, which followed better houses: Kettentanz, al Ballet who are not getting wrists as if thwarting some at­ Dark Elegies, looked more vu l­ looking sloppy; Le Spectre de the help and discipline they tempt to 'express'. At least gar and slapdash than, in fact, la Rose, notable for the promis­ need and deserve. Despite en­ three of the dancers, however, it is - though Cynthia Lucas ing if hurried debut of William couraging the younger dancers must be singled out for special now dances the opening solo Stolar - he substituted for an and bringing the Ashton ballets praise. Gloria Luoma, known with wit and confidence. Also injured Kevin Pugh; Song of a to Canada, Grant and his as­ chiefly for her breezy solo a pleasure, at a later perfor­ Wayfarer, and Newcomers. sociates appear to have no work in the classical repertoire, mance, were Raymond Smith The Sleeping Beauty return­ clear view of the company's showed in the first solo a grav­ and Peter Schaufuss, the latter, ed in the last week of the sea­ future. Surely, the National ity and restraint altogether un­ as we have come to expect, son. While many people, re­ Ballet deserves to be more expected. Peter Ottmann, dancing brilliantly. viewers among them, are fond than a northern outpost of the until recently cast almost ex­ After Dark Elegies the most of describing the opulence and Royal Ballet. clusively for his pretty looks, brilliant event was the gala, a cost of Rudolf Nureyev's pro­ found a role in which his in­ long if friendly affair. Most of duction - everyone in Canada LA WRENCE HAS KETT creasing strength and commit­ the principals danced, James is an accountant, to paraphrase ment came together in a force­ Kudelka and Constantin Pat­ Northrop Frye - few comment ful display of grief. The finest salas each contributed a new, on the substandard dancing in dancer in Dark Elegies was if modest work, but the the prologue, the silliness of Victoria Bertram. With an in­ special pleasures of the pro­ the dance for the four cavaliers stinctive sense of the down­ gram were the strong and in Act 1, or on how scenically ward pull of Tudor's choreo- witty Sylvie Kinal-Chevalier oppressive this Beauty really -The School ·of the THE SCHOOL OF HARTlood bAllET WINNIPEG'S DANCE ACCOMPANISTS' Teacher Training Program CONTEMPORARY SYMPOSIUM Two-Year Certificate AUG. 23 - 30 DANCERS Ba llet Student Teaching IN TORONTO Modern Composition Summer Session FOR MUSICIANS & DANCERS Jazz Perform a nee l Dance History Kinesiology August 10 - 28 Music and Art Appreciation Dance Administration Guest Teacher - Fred Mathews Artistic Director - Rachel Browne School Principal - Faye Thomson

with: GWENDOLYN limited enrolment WATSON contact DANCE RICARDO IN CANADA ABREUT ASSOC. ROBERT 100 RICHMOND Modern DESROSIERS ST.E:. TORONTO Ballet MURRAY (416) 368-4793 DARROCH Jazz Modern Repertory

For September admission call or write: Write to: The School of the Hartford Ballet 308 Farmington Ave. 2nd Floor, Hartford, CT 06105 444 River Avenue (203) 525-9396 Winnipeg, Manitoba Acc redited by the Joint Commiss ion on Dance R3L 0C7 Sponsored by: DANCE IN CANADA and Th eatre of NASA & NASM . Admits students with the fin ancial support of: Ontario Arts of an y race, color, natio nal or eth nic origin . (204) 452-1239 Council , Canada Council. C it y of Toronto. 25 DANSE AU CANADA Anjali The audience was delighted Centennial Memorial High by her expression of the Nava School Auditorium Rasa, particularly by the moods gary of Lust and Disgust. Unfortu­ _ February 1981 nately, an overly prompt black­ out destroyed, for myself at any rate, her depiction of the :m e-Marie Gaston is a trans­ final mood, tranquility. I ; uralist, a Canadian who simply never got to see it. nces in several east Indian Technical ineptness was a _-Jes under the name Anjali, major problem throughout. · en to her by her first guru. The stage crew never turned e is also a scholar of Indian the lights up enough to give - ·cure, with a new book out the audience a good look at • m Oxford University Press her facial expression, which is be Dancing Siva: a Study of much of the content of Indian nee, Myth and Iconography). dance. It is an aspect of ex­ she notes, it's impossible to pression which may have the olate one aspect of culture, deepest cultural roots, easier ance, and attempt to under- to parody than to imitate. If rand or usefully present it out­ she's really mastered the style, . e its original context. we'd see it by her face; in­ Transculturalism is a funny adequate lighting was more usiness. Dominant cultures, than an irritation. the British were in India a Gaston's footwork through­ ·ew years back, are usually in­ out the evening was superb. If ·erested in the peculiar cus­ the face is the completion of oms of the peoples they con­ Indian dance, the feet are the trol. Scholars, professional beginning. As in the perfor­ d amateur, regularly sent mance of ragas, much of the ac k reports and specimens delight in the dance is the : om the colonies. Occasional­ rhythmic interplay, challenge •. , an eccentric might pick up Anjali 'even, between soloist and me of the strange behaviour musicians. Though Anjali used f the locals, but 'going native' was given the least attention; have been humourously in­ pretaped music, as do most ·as not really approved. Still, only the J atiswaram invoca­ tended . dancers we see here, she still .- was taken for granted that tion at the beginning was Most memorable of the managed to convey some of -ative peoples would see their danced in this style. It was not several Odissi selections were the excitement that is tinged ~ ·n in emulating1their masters, easy for the uninitiated to dis­ an energetic pure dance (no with fear that she might not • ough their poor efforts tinguish it from the Bharat story), calledMoksa, and the make it. At least one Indian ·e re not really worth a great Natyam which immediately Kuru Yadu Nandaria. The dancer in Calgary has been ea!. followed, and Gaston later in­ latter is a depiction of a por­ beaten by her own soundtrack; Since those days, ethnic dicated to me that it is in fact tion of the Gita Govinda, a Anjali certainly was not. Jignity has reasserted itself, very similar and related to the Sanskrit poem which recounts Her program is well planned and that and many other fac­ more common form. the love between Krishna and to give background to Western­ tors incline us to take at least During the Bharat Natyam the milkmaid, Radha, which ers. The graphics, mostly slides me other cultures more portion, Anjali danced a fa­ is constantly erotic and spirit­ of Indian temples that she seriously. There remains some miliar story with a new inter­ ual. In the portion Anjali danc­ took herself, are nicely chosen, stigma to 'going native,' but pretation, at least to this ed, Radha and Krishna have sometimes breathtaking. Pro­ ·r's more likely to be couched viewer. Most Bharat Natyam spent a night of love and gram-notes and her husband's i: such terms as 'Can a white programs include some varia­ Radha asks Krishna to help readings on the soundtrack are r:ian sing the blues?', rather tion upon the theme of the her to put her jewels and informative. than straightforward disgust, abandoned woman, whose finery back on. Because Gaston came to this at least among the intelligent­ husband spends his time and The Kathakali dances were art as an outsider, she knows sia. Indeed, it often seems we energies on a courtesan. the most striking. She offered what we don't know, what are flooded with enough in- Anjali's version of the woman­ a depiction of the Nava Rasa, we'd enjoy learning about, and tant 'experts' on other cul­ scorned seemed a trifle be­ the 'nine moods' that Indian what we need to know to ~res to destroy what interest mused by her husband's weak­ artists and scholars have called follow her performance. e public may have in the ness, more confident that it the centre of all expression, The audience was no more Third World. was his weakness, indeed, and and a portion of the dance than half Westerner, however. But Anjali's current presen­ not her own lack of virtue or drama, Kalyana Soughandhi­ The Indians in the audience ation, which she has offered attractiveness that is the cause kam, in which the hero Bhima appeared to be as pleased as this season at Ottawa, Toronto, of his straying. Other dancers observes an elephant killed the rest of us. One lady ap­ t. Catharines, Montreal, Fred­ I've seen show more anguish and eaten by a lion and asnake. proached her after the perfor­ eri cton, ·Moncton, and else­ over the situation. This was suitably ferocious; mance, saying, 'I, too, dance - where, along with a host of One must remember that for the elephant's transition from Bengali style. I will go home workshops and lectures, de­ long stretches of Indian his­ annoyance at the snake's bite, and dream of you tonight'. monstrates how much trans- tory, dancers were themselves through terror to death, was ulturalists have to offer. courtesans, and so it seems very clearly shown. A brief GEORGE LYON Of the four traditional reasonable that these tales of portrayal of a peacock during styles presented, Kuchipudi domestic strife might often the dance was exquisite. DANCE IN CANADA 26 Compagnie de danse nality of his style - 'none of program allowed that. Regina Modern Eddy Toussaint the austerity but all the beauty He uses a variety of styles Dance Works Harbourfront Theatre of classical ballet'. But the within a small range. A Simple Harbourfront Theatre Toronto style the Bogotans like so Moment is cross-over classical­ Toronto 12 - 14 February 1981 much is not original at all; it's modern ;long the same lush 16 - 19 April 1981 modern (pop) ballet with a and eloquent lines as Vesak's jazzy overlay. What Eddy Belong; Turbulence is modern­ Toussaint gives us is highly balletic with a strong stress on Yes, they did more than just Quite frankly the popularity superior moving entertain­ the beat; Alexis le Trotteur ex­ tango. Maria Formolo and of jazz ballet in Quebec is phe­ ment, glossy and sexy and the­ ploits energy and feats. And Keith Urban have wiped the nomenal and the dancers seem atrical to beat the band. On sex. slate and begun anew. Fresh to be going about it in the those terms - and he establish­ Male-female interaction, and innovative as they were, all right way to make it a success. es them early on - it's a splen­ much of it adversary, domi­ of their dances still indicate a A great many have developed did evening. nated the work we saw. Turbu­ strong impulse toward the in­ the line of the classic dancer But art? Only in the sense lence suggests flamboyant mat­ tegration of traditional and with the plus factor of having that Alvin Ailey or Maurice ing display in a mechanistic historical values in music, art ·the rhythmic sense necessary Bejart is art, which is a pretty setting; A la Fran9aise, a pas and dance that comprise man's to jazz. Personally I think it limited .sense. There's a sharp de deux, chronicles a brief en­ heritage. Their performances could well evolve into a gen­ edge between true art and counter with a touch of. early this spring at Harbourfront uine art form. - Norbert Vesak, their kind of flashy display­ Paris apache in the way the . Theatre gave Toronto audienc­ .in an interview with Myron dance, and Toussaint wounds man manipulates the woman es a whiff of the new ideals Galloway, (Dance in Canada, himself on it repeatedly. (and the way she lets him); A this company is now nourish­ Winter, 1980). Eddy Toussaint does most Simple Moment is a love-poem ; ing. Six pieces were presented. A work of art can influence of our thinking for us, gives us Alexis, which is about a mad­ Winterpiece Suite, (choreo­ man only through the imagina­ dance pre-digested. He knows man who thinks he is a horse, graphed by Maria Formolo tion. Thus ar.t must constantly what entertainment is, how to ends with the central charac­ with a narrated text by Eliza­ arouse it. - Arthur Schopen­ polish it and give it an air of ter being ridden to docility by beth Raum) took me back to hauer. aesthetic importance and send his dream woman. On top of my school days on the prairies. his audience home happy. He all that they also do Women, Urban's ability to convey the It all depends, of course,·on understands theatricality, he Oscar Araiz's steamy setting innocence found in youth, what we mean by a genuine understands an audience's need of Grace Slick's feminist (I along with the clear images art form. If the range of the to be flattered, he knows how think) propagandizing, for depicted in the movement, human aesthetic experience to exploit the natural eroti­ five ladies in lacy underthings. gave me the feeling I was flip­ runs from one to 100, and cism of attractive bodies in Much of the success that ping through the pages of an true art occupies the space motion. He provides sophisti­ Toussaint has with all of this old picture album from child­ from, say, 80 onward (do I cated tits-and-teeth for those depends on his dancers. There hood. Formolo's crow dance, hear 90 from the dyed-in-the­ who need to pretend to think, are some outstanding indivi­ indicative of the many flocks wool aesthetic elitists?), where and I suppose there's an art of duals - I was particularly taken of crows seen on prairie farms, does jazz ballet fall? sorts in all of that. by Anik Bissonnette, clean and sent out some not so timid Eddy Toussaint's program But a stimulator of the im­ neat of technique and uncom­ screeches. Urban, in his in­ does not label his work jazz agination? One of the great monly lyrical of expression - nocence, tries to imitate the ballet, but all the requirements virtues of serious music, an­ but the company as a whole crow. Satirical overtones make seem to be there. He uses danc­ cient or modern, is its com­ dances well and projects a strik­ you want to laugh but at the ers well trained in the classic plexity and the range of ing sense of individual signifi­ same time you feel the loneli­ line. He undeniably possesses expression that complexity cance that sometimes invests ness of the prairie boy, caught the plus factor of rhythmic allows. The same goes for the choreography with a weight in the vastness of the open sense. Does that add up to art? serious dance, of any style. it does not, of itself, possess. space. He joyfully turns, A lot of people would like We need to bring something dances, absorbs himself in it to. The night I saw the Tous­ of ourselves to it if we are to MAX WYMAN winter games and yet at the saint company at Harbourfront get from it all it has to offer - same time is coming to under­ the theatre was packed, the ac­ we need to be part of the ima­ stand through exploring this claim ecstatic: un succes Jou. ginative exchange. Not much vastness that he is always turn­ In Bogota they hail the origi- that Toussaint offered on this ing in his own centre.

AVAILABLE: director JULY & AUGUST, 1981/82 8WDJ£ MARGO PERRY ballet master Paula Ross and Leslie Manning continuous classes RICHARD Forintensive workshops across Canada all levels SUGARMAN for information call Packages consist of technique classes, videos, solo performance, choreographic workshops, 416 968-7050 dancers' workshops. 103 bellevue Contact: Alan Fukushima, General Manager toronto,ontario 3488 West Broadway M5T·2N8 Vancouver, B.C. V6R 2B3 (604) 732-9513 ' ballet jazz tap 27 DANSE AU CANADA she expresses the emotions of her world both in gestures and in the tone of her voice. The dance is evocative of North American Indian ritual, but I am afso reminded of the every­ day life of the immigrant women whose emotions are never devoid of bodily expres­ sion. In Formolo's Mysterioso she expresses her enchantment with womanhood. She explor­ es the lineage of her flexible body from head to foot, wrap­ ping it into every imaginable . position. She takes hold of space in her extensions, then gently flexes her foot and tucks it into some invisible crevice. She embraces the total space continually unfolding, petal by petal, -aspects of her flower­ ing womanhood. The real dancing was saved for last. In both Ages (choreo­ Petre Bodeut is a Roman­ large black nose and towering extends like a ribbon across the graphed by Formolo) and ballet master who has chor­ burgundy velvet headdress. He stage, and proceeds to dance Renaissance (choreographed aphed Vigil and lncanta­ is wrapped in a bright multi­ in and out of it in hopscotch by Urban) technical expertise ~on for the company. In these coloured embroidered cloak. fashion. The cloth symbolizes is displayed. In each of these ~.eces he brings the traditional As the rhythm changes Urban freedom from human bondage pieces they dance intimately :orld of his cultural heritage rises to his feet leaving the for which primitive man search­ with one another. They seem • the stage. He does this headdress behind. He then ed in his daily working life. to weave the gyrating mole­ :.. rough the use of special spreads the cloak over the In Incantation Formolo cules from within themselves, -:: ects such as masks, props, stage and dances around wild­ wears bells around· her ankles. into the space around them. s, chants and incantations. ly, hopping and skipping. In She enters, wrapped in a sheer their movements are like the th these dances have speci­ his gestures you feel his sad­ white scarf, spindle in one intertwining threads of the .::c intentions. They deliver a ness, and yet he still gives hand and ball of wool in the warp and weft in a Persian essage, and both Formolo thanks to the earth, while other. She walks around the tapestry, one movement al­ ,d Urban activate the intent kneeling before the cloak. At stage and deposits these orna­ ways affecting another, as if : these messages with deep the same time his extended ments in various corners. Her to create and be created anew - er concentration. shirt sleeves indicate that he is first gesture pleads with the each moment in time. Their Vigil begins with a loud emotionally bound by this life earth. She squats, head down, joy in these dances streams omanian chant. Urban is on earth, until, in the right then slowly rises shaking her forth into the audience. eeling, concealed beneath a corner of the stage, he discov­ body into a contorted posi­ •. otesque, doll-like costume ers a white cloth. He unravels tion. This begins a long seance­ JUDITH POPIEL -:th a double-faced mask, the long white fabric, which like incantation. As she speaks les f V summer session 1981 , b~llets June 29 - August 28 · -, dejazz montreal Montreal: 1231 St-Catherine St. West · ~ ' Montreal, Quebec H3G 1 P5 ecole superieure Branches Special Guest Teachers Quebec: 777 Cote des Glacis Quebec, Quebec G1R 3R1 GEORGE RANDOLPH Laval: 1950 Boul. de la Concorde HERB WILSON Duvemay, Laval, Que. H7G 4P5 LYNNE TAYLOR St.Jean: 112 Richelieu KATHRYN WELLS St-Jean, Quebec J3B 6X3 GUS GIORDANO Toronto: 207 Adelaide east KRISTINE ARIEL Toronto, Ontario Inquire now for more information! ( 514) 849 - 6071 DANCE IN CANADA 28 Canadian Children's ing or sensibility that pervades Carl Orff's simple and percus­ Margie Gillis Dance Theatre the entire production. sive compositions for children. Le Tritorium Leah Posluns Theatre And while the choreogra­ John Tiggeloven's wonderful CEGEP du Vieux Montreal Toronto phy is, of necessity, simple, masked mythical beasts per­ 15 - 18 January 1981 26 - 29 March 1981 the dancers' uniformly high form in a manner reminiscent energy level makes the pre­ of the Chinese dragon dancers. dominant use of basic con­ Elsewhere, the children por­ necting steps (runs, glissades tray children at play and here Although it has become a Working on the premise that it etc.) between simple poses and are at their most relaxed: spin­ cliche to say that critics fuel is not enough for children to lifts, both logical and accept­ ning hula hoops, jumping rope, their power trips by tearing appear 'cute and charming on­ able. What is missed perhaps, dancing with scarves and bal­ down icons, critics are human stage', the Canadian Children's and this was noticed most in loons, experimenting with too and loath to let go of Dance Theatre made its debut the company's two story rhythms in clapping and stamp­ their illusions. It is too pain­ appearances at Toronto's Leah ballets, The White Goddess ing. ful to see a glorious memory Posluns Theatre from March 26 and A Winter Bonfire, is acer­ A Winter Bonfire is the dissipated by sad reality, which to March 29. The forty danc­ tain attack or passion in the company's most ambitious is why, for some time now, I ers, ranging in age from 8 to dancing. The children obvious­ work, the story·adapted from have been delud~ng myself 14, did inevitably appear to be ly take great joy in what they its literary source by co-direc­ that the marvel that was 'cute and charming' but, for­ are doing, but one wonders tor Michael de Coninck Smith. Margie Gillis in 1978, is only tunately, this was not the sole whether-they understand what It juxtaposes city to rural life, dormant, not burnt out. That extent of the evening's enter­ they are dancing. For instance, cold nights to fire warmth, was the year she exploded on tainment. Director/choreo­ it is at times disconcerting to snow drifts and firelogs. The the local dance scene and al­ grapher Deborah Lundmark see young children performing choreography is truly lovely, most overnight became a by­ must be credited for master­ romantic classical pas de deux, using the full company to word for beauty and inno· minding a showcase for child as they are called upon to do create intricate visual patterns. cence. Her trade marks were dancers as opposed to a stu­ in the balletic idyll, The White Like all the works in the reper· the small, sturdy body and dent recital designe.d to show Goddess. What emerges is an toire, A Winter Bonfire had long, flying hair, risk-taking off a yearly progression in unintentional parody of adult been well-rehearsed - not even and a total vulnerability to training or an exploitative tech­ d_ancing - the acting uncon­ the youngest corps member which each member of the au­ nical attraction a la Balan­ vincing, the technique (very missed a step - but here one dience responded by taking chine's Baby Ballerinas. odd-looking pas de poisson) does miss the exuberance of her to its collective heart. However, the highly pro­ shaky. One is rudely reminded Streetdances. Again, one is She still has her public. fessional mixed program of that these are dancers of in­ forced to wonder :J,t the future They bought out the 1,000- three original modern and complete training. of this company, at its limita­ seat Tritorium for seven nights balletic productions did raise This entire problem of per­ tions and at its potential. At and the story is the same a number of questions about spective is confronted in a the very least, the existence throughout the province: she the exact advantages of such head-on humorous way in the of the Canadian Children's is swamped by requests to per­ a company. If a dance com­ company's second original Dance Theatre will provide form. pany wishes to bill and pre­ work, Streetdances, a charm­ marvelous learning opportuni­ I have found Gillis' recent sent itself profession·ally, its ing melange which utilizes va­ ties for its members, some of performances increasingly dis­ appeal should probably be to rious theatre techniques to whom, it is already quite evi­ appointing. Hers seems to a segment of the dance public portray different aspects of dent, will become exquisite have been an ephemeral magic larger than the one consisting the world of children. Choreo­ adult performers. that cannot stand up to re­ of adoring relatives and grapher Lundmark devises a Certainly, we.will have peated scrutiny. 'friends'. Though its premiere classical pas de trois which ample opportunity to find out. Doubts began to set in last houses were laced with such hinges comically on the vari­ With the success of their first summer at a gala for the late company 'friends', it seems ance of height and weight of season, the CCDT is planning Jacqueline Lemieux, where possible that the CCDT will the female principals. Other to double its repertoire for a Gillis introduced her first new eventually manage to reach a pokes at 'adult' sophistication 1981-82 season. work in several months. It was wider audience. take the form of rapid-fire less dance than exhibitionism: In terms of visual impact, 'flashes', of dancers leaping KATHLEEN SMITH a short but graphic mimicry, each of the three items in the across the stage wearing dark in total silence, of a spastic company's repertoire is admir­ glasses, a tophat and cane rou­ struggling to her feet. It was able. Sets by Brian Caws and. tine. Though sometimes awk­ so agonizing to watch, I won­ costumes by Maureen McKeon wardly connected, Streetdanc· dered whether I was witnessing are colourful and rendered es has some marvelous mo· a performance or becoming a with an eye to the medieval ments, many helped consider· voyeur. (or is it Middle-Earth?), a feel- ably by the choice of music - Three more pieces followed

ALMA COLLEGE DEPARTMENT OF DANCE AND MUSIC

Residential and Day Secondary School offering dance and music education. Training to professional standard - students prepared for examinations with the Royal Academy and the Imperial Society. Summer School July, 1981 Alma College, 96 Moore Street, St. Thomas, Ontario N5R 586 29 DANSE AU CANADA - mid-November, at a noon- as an impressionistic blur, the stage with her. The now-com­ sides of the footlights; it is not - .. e recital at Place des Arts, performance seemed.static pulsory trauma in the middle art. of them notable for extra- and repetitious. was flanked by playful se­ I think Gillis is only too - ant anguish but little move­ On the Nickel, danced in quences of Gillis, long hair aware of the public's ravenous ~ent. These she later ascribed red long-johns to Tom Waits' flying ('like a shampoo com­ appetite and in responding to : a lengthy bout with tendon­ jeremiad about the human mercial' said someone unkind­ its needs she has neglected to : sand the influence ofKazuo flotsam along Los Angeles' ly), fording a stream, chasing assess what she is doing to her­ no, a Japanese master of Fifth Street, restricted itself butterflies. self. Perhaps she should take -:.in imalism whom she had en- to illustration. She had not dis­ Such was the predictability the time before it is too late - untered at the Festival of tilled Waits' beery desolation, of the performance and the and she finds herself frozen . ·ancy last summer. What was merely mimed ic narrowness of the emotional forever in attitudes she no · ible in her dances was not Leonard Cohen's Window range, and so trite the move­ longer believes. :: e still point at the centre of found her in diaphanous white ment vocabulary, that in the :: e storm but a hobbled, un­ draperies, her tawny mane a end even the earlier pieces that KATI VITA -· an nelled energy expressed cloak over her bare back. She had left me searching for su­ _ \. indescribable contortions can be a vision of self-possess­ perlatives two years ago , began f the body. One had the dis­ ed grace but here, apart from to seem studied. Decoded and ::nct and uncomfortable im­ a brief burst of lyrical move­ devoid of enchantment, they ;iression that she was luxuriat­ ment, there were only slow, became merely set pieces in :ng in her public pain. It was cautious steps and much the Gillis repertoire. :10 t a pretty sight. trembling. At this stage - and I hope The series of sold out ap­ Broken English, Marianne it is a stage - Margie Gillis is pearances that ensued at the Faithfull 's anti-war song, prov­ performing psychodrama: act­ Tritorium were more of the ed a sure-fire crowd pleaser ing out her private nightmares :arne, though they seemed each time. In green army fa­ in public. The signals she .::ifferent because of the cataly­ tigues, thick plaits flying like sends out are of a person in ·c effect of a cult-audience limbs, Gillis was a grotesquely acute distress. Cynically per­ and because, for once, I saw flailing puppet, wracked by haps, I have often wondered Gill is not from close up but in the current each time the song whether that might not ex­ ird 's eye perspective from threw a switch. plain her universal appeal. We e back of the balcony. To these, in January, she watch her with the same com­ Divested of her compelling added Once Upon a Time bination of apprehension and :acial mime, which draws the Right Now, to a piano score fascination that we feel watch­ eye to si.tch an extent that the commissioned from John ing a tightrope walker. It is a cest of the body registers only Menegon, who shared the sad human spectacle on both

------·DANCERS, SINGERS, ACTORS, WRITERS, COMPOSERS, DESIGNERS will be in residency in the MUSIC THEATRE w~ carrvth~ @@ ent1rn co~lect1on nvmnastic of dansk1n and \l'-no STUDIO ENSEMBLE '):::=~ capezio bodywea r 5 ,ppers with selecrst,yJes for men and cl'lildren. Sept. 14- Dec. 18, 1981 and Jan. 4-Apr. 3, 1982 Artistic Director: Michael Bawtree Resource Artists: Peter George, David M. Smith, Oren Brown, Cameron Porteous, H. Wesley Balk, Richard Pearlman, R. Murray Schafer & more. For 81 /82 & 82/83 information write: THE BANFF CENTRE SCHOOL OF FINE ARTS Box 1020, Banff, Alberta, T0L oco I The Eaton Centre 593· 1001 70 Bloor St. West (at Bay) 920-1006 (403) 762-6180 : Bayview Village Centre 225-4400 Scholarships Available 1 Late Applications wi II be considered. • ------· DANCE IN CANADA 30 Jennifer Muller and the Works Ryerson Theatre Toronto 11 - 14 March 1981

Judging from the touring schedule facing Jennifer Muller and the Works in the next year or so, the New York-based company which filled the Ry­ erson dance series' third slot is in high demand. Toronto was only one short stop in the company's eastern Can­ adian and US tour, followed by four months in Latin Amer­ ica, followed, in turn, by a season 1n the Far East. This is, therefore, probably the first and last time we will be seeing them in the next while - which in many ways is too bad. Their popularity both at home and abroad is under­ standable. Likened in their press releases to a known and admired Canadian quantity, Montreal's Les Ballet Jazz, they do deliver the same brand Angeline Wolf and Lane Sayles in Jennifer Muller's Lovers. of high-spirited, high-kicking, disciplined dancing, cut with dance tells the story of love latter, no matter how good nation of speed. The dancers liberal dashes of humour. They from the perspectives of differ­ technically, has a limited put the polish on this vaguely also use novel props - a bath­ ent ages. Jubilant, leaping range, which the length and sixties approach (some say tub with water inside and out, youth in short, bright costum­ repetition of this piece did not eighties), but Tub especially flippers, top hats - and chore­ es make way for mature pas­ respect. Only for brief mo­ has a distinctively communal ography that zooms the danc­ sion, clothed more discreetly, ments, when the company rather than 'me' feel to it - ers from floor to ceiling with which makes way for a tender, moves furiously en masse, did by plunging into the pieces split-second timing. The re­ dignified duet, performed by it rise above a showy, some­ with an absorption and gaiety sult, predictably, is a spectacle dancers draped in purple. The what monotonous display of "that is initially very engaging, with wide appeal, and, much four sets of lovers melt into technical virtuosity and be­ but it eventually becomes less predictably, one of no and cling to each other, soar come as vibrant and resonant tedious because of a lack of little choreographic interest. apart, and spin in different as much of Limon's choreog­ contrast. Muller's concept of dance directions as though sucked in raphy. In this case one felt The democratic nature of certainly admits more than the and pushed out by breath. The Muller's com bi nations of move­ Muller's subject matter is odd 'cheap thrill' in her cho­ demanding swoops, lifts, and ment styles detracted from, heightened by the company's reography - slapstick humor, complicated balances of the rather than expanded on the seeming lack of stars. The ob­ spectacle seemingly just for partnerships are carefully de­ originals. vious candidate, Muller her­ spectacle's sake, incongruous signed to retain the shape of In striking further afield self, takes no more than ;n juxtapositions of mood and the movement as a whole. from Limon and Martha Gra­ equal place on stage among props - but they do not hide Jose Limon, in whose com­ ham ( with whom Muller also the other dancers - her perfor­ her obvious respect for the pany Muller danced for eight studied), Muller has eschewed mance there was memorable shape and quality of movement. years, has also left his mark on the mythic, heroic dimensions for her expressive, sensitive Her principles about the latter her choreography. Especially of their work. Instead, she has arms and 180 degree exten­ harken back to Doris Hum­ in Speeds, an overly long work turned her attention to Every­ sions, but neither of these phrey's technique of rounded, comprised of variations on the man and his daily, sensual pur­ attributes was particularly off balance, flowing move­ title's theme, one recognizes suits. Of the three works she featured. Apart fro·m Lovers ments, and the dynamic of fall the group's sudden rush and brought to Toronto, one deals the dynamic was a group one, and recovery. The dancers in flow of movement, and the with water, another with love, with short stints in the spot­ the company fall with an illus­ lightning quick changes of di­ and one with speed - all direct­ light for most members of the ion of boneless disintegration, rection. But this work adds a ly accessible through normal, company. This format enabl­ which makes the fibred, sweep- foreign element to Limon's human experience. The heroes ed the audience to get to know . ing recoveries all the more vocabulary, namely, jazz, which and grand emotions of her pre­ the group profile in detail, but thrilling. The lyricism of this changes and eventually detracts decessors 's work have been re­ it told us disappointingly little style of movement is most from it. The jazz dimension placed by unselfconscious, about the styles of the individ­ poignantly in evidence in dominates the movement with light-hearted explorations of ual dancers. Lovers, a piece inspired by the a more lyrical resonance, and 'natural' themes: the brother­ One who did shine, not so paintings of Gustav Klimt. Set tends to reduce the piece to hood of man; the primal na­ much for displaying an indivi­ to music by Keith Jarrett, the an impressive chorus line. The ture of water; the simple fasci- duality, but for surpassing even 31 DAN SE AU CANADA the group's high-powered for­ Paul Taylor The Paul Taylor Company plete with dappled lighting mat of technical virtuosity, Dance Company is in its 26th season this year. and costumes fit for an Esther su per-human energy, and Place des Arts Taylor, the innovator, the Williams aquatic extravaganza? rivetting eye contact, was Montreal moving force, is fast becom­ Is it nostalgia for traditional Angeline Wolf. The tiny, an- 11-13 December 1980 ing (in his 51st year) a grand forms or simply enchantment elic-looking blonde's leaps old man of modern dance. His with the structural perfection and speed in Speeds were more hallmarks, the assymetrical of the music? Taylor's musi­ gazelle-like than human, and jumps, the momentum turn­ cality is a marvel: each strand her control, flexibility and They flew. They did. I saw ed back on itself, the acroba­ of musical thought is laminat­ ::iming - skills in evidence them. They danced as they tics and robust good humour, ed to a filament of physical .:hroughout the company - flew, tossing off intricate now crop up like quotes in momentum. were quite remarkable. steps, flung themselves head­ other people's dances. Fortu­ In Public Domain (1968) Muller choreographed Tub long at the floor and bounced nately Taylor himself is not Taylor pulls a complete about­ and Speeds in the early seven­ up, bonelessly careening into content merely to repeat suc­ face to show that music need ties, while she was part of the lifts and dives, plucked bodies cessful formulas. His work is not be the impulse for move­ Louis Falco Dance Company. out of the air as they whizzed ever surprising, various and ment. A series of elaborate The timing of Tub, particular­ past, crumpled and rose, spun new. Following parallel · visual jokes unfolds concur­ ly, helps explain its ritualistic, and leapt and fell again like strands, he alternates efferve­ rently with but independent­ tribal feel (the dance revolves mad things, tumbleweed borne scent high-jinks with an infi­ ly of a not-quite-Hoffnunges­ around a bathtub, with water on the whirlwind, on and on, nite capacity for compassion que collage of sounds. A ten­ in it, that serves as the source past human endurance. And and pain. The two program­ nis ball is chased by a beach of group baptism, trial, revela­ when the last of them had mes in Montreal provided ball, a box on two feet trots tion, and celebration), but its shot off into the wings, there shining examples of both, across a stage, an inert form age raises a question about its was diminutive Lila York magical moments full of in purple jump-suit sleeps continued appearance in alone on stage, eyes watchful, pure dance, barbed satire, in­ through it all. Meanwhile the .\1uller's repertoire - seven arms outspread in an eloquent spired pastiche and astonish­ soundtrack meanders from years and a company later. paraphrase of Puck's epilogue' ing tenderness. the dulcet tones of Sybil .Muller has said that she start­ The sparse audience, nor­ Who would have thought Thorndike (or was it Edith ed her own company to in­ ally programmed to erupt in that the man who was 'having Evans?) requesting cucumber dulge in her taste for risk­ frenzied applause for anything us on' in the mid-fifties by sandwiches, through snatches raking and innovation. Toronto beyond six pirouettes, render­ rolling around on the floor of operetta, Dave Broadfoot, audiences saw only one post­ ed them genuine homage: and insisting it was dance, coughs, a needle stuck in the Falco work though (Lovers), stunned silence, followed by a would soar on winged feet to groove to a never ending wind­ and it was certainly not the roar from a thousand throats the serene balletic lyricism of up for the finale. most risky or innovative of at once, a crescendo like the Handel's Airs (1978), com- I .assume Taylor's Sacre ;:he night. Tub, with its stretch breaking of a dam, a thunder­ from high drama to absurdism, ous sound from hearts full of though not entirely successful wonder. The dancers filed L'ECOLE DE DANSE dramatically, easily won that back, their costumes in tatters, description. secret smiles on their lips, not This makes one wonder quite returned from that other Pointepienu vhether Muller is really inter­ world, as wave upon wave of ested in pursuing new chore­ bravos washed over them. ographic directions with her 'I could cry', said a ballet INTENSIVE 1981 company, or just in dishing up master I know, rubbing at his as sured successes. If the latter eyes. I know what he meant. 1jjl SUMMER SESSIONS is the case, it might explain I had seen that same look in why, in spite of the rivetting the eyes of a concert master P,-- .. ~ .. J''' JULY 6-JULY 31 eye contact and gaiety, one once after a particularly fine AUGUST 3 - AUGUST 28 sensed a certain plasticity and violinist had finished playing. ack of freshness from the Dancers knew what he meant, ~,. dancers. Undoubtedly a hectic too. The audience may have - -ouring schedule leaves a cho­ stayed away in droves to finish A.A.A reographer little time to create their Christmas shopping but new works, but if Muller every dancer within a hundred BALLET - MODERNE - JAZZ could find the time, both miles, who was ambulatory, POINTE - VARIATIONS- BOYS CLASSES dancers and audience would and not performing elsewhere, benefit. was there. CHARACTER -WORKSHOP - RYTHM -VOCAL It occurs to me that the CAROLINE GRAY loss sustained by the impre­ for further information WRITE: sario should, quite legitimate­ ly, be wiped out by our cul­ tural mandarins. Rita Koudri­ 'J~7;,7;pfonu avtzeff's enterprise contribut­ ed i'mmeasurably to the train­ 15, Ouest, rue NOTRE-DAME ing of Canadian dancers and OLD-MONTREAL helped restore to Montreal [I] (514) 288-9056 audiences, chronically short­ changed by devalued local cur­ rency, a solid gold standard Perm is Ministere de !'Education Ne,. 749541 of Dance. DANCE IN CANADA 32 (19 80) came to him in a blind­ vivants, which occasionally re­ Nova Dance Theatre only Robinson undertook to ing flash of light during drunk­ vealed cruel historical truths, Dalhousie Arts Centre choreograph for the inexperi­ en revels, so unlikely is the nonetheless acute for the Halifax enced. The others choreogra­ key he has found to solve its candy coating. Senator Mc­ 24 - 25 April 1981 phed only for themselves and cipher. For the turgid, teem­ Carthy would have had Tay­ their fellow professionals - ing, heaving mass movement lor's head on a platter for this and even then, there was no of the Sacrificial Maiden and a decade earlier but the mes­ The 'debut' performance of true collaboration, no blend0 her cavorting cohorts, he has sage is a bit diffuse, frequent­ Jeanne Robinson's Nova Dance ing of artistic sensibilities. substituted Dick Tracy, Peter ly overwhelmed by a welter Theatre, a new performing Robinson's piece, which did Lorre and mountains of zoo·t­ of popular icons: Mickey modern dance company in concern itself with its dancers, suited corpses in a madcap Mouse and Batman, Uncle Sam Halifax, was a watershed event was necessarily limited by Damon Runyon caper with as­ and Iwo Jima, the Pilgrim in Nova Scotia's dance history. their inexperience, forced to sorted molls and a kidnapped Fathers and Betsy Ross, cow­ If the feelings elicited by a rely more on emotion and infant. It is at once a take-off boys and naive Indians, the most varied evening's enter­ mood than on dance skill. De­ on forties B-movies, comic Pieta., sex symbols, Hell's tainment were to be com­ spite a flavour of artistic dis­ strips and Nijinsky's one di­ Angels and the Ku Klux Klan; pressed into a single word, the organization, the performance mensional choreographic hier­ and a forlorn Statue of Liber­ word would be 'maturity'. was a virtual sell-out both oglyphs. The parody is so bril­ ty (the inimitable Bettie de Perhaps the term 'critical nights, an indication of the liant on all levels, it threatens Jong, herself almost an Ameri­ mass' would be an even more surprising extent of local to undermine the original, if can icon), signifying America, apt descriptive. A Halifax dance-hunger. it has not usurped its place al­ the melting pot: a subtitle group called Dance Advance The second show was ready. looking for an identity. Association has been working equally successful commer­ Dust (1977) moved me to They ended with Esplanade for the past two years toward cially, and noticeably more tears. It was a shattering vi­ (1975), nine eccentric one-of­ the ultimate establishment of satisfying artistically. Robin­ sion, transmuted by art into a kind bodies in autumn a professional, performing son emerged as the group's something more than regret colours, running in formation, modern company in this sea­ principal choreographer. Her over the human condition: a touched by a tongue of fire. port city. To that end it spon­ company piece, a wry, ex­ distillation of regret and of There are indelible memories sored a series of four dance uberant commentary on the hope not quite abandoned, of Carolyn Adams' coltish concerts at the 200-seat Sir bewilderment which modern changed in the crucible of grace, Monica Morris' elegance, James Dunn Theatre at Dal­ life evokes in anyone of a artistic perception from hear Linda Kent's sinuous concen­ housie University, the first, sensitive temperament, involv­ rending sorrow into ineffable tration and the indefatigable second and fourth produced ed dancers, non-dancers, beauty. Clad in buff body ardour of Elie Chaib and by artistic director Jeanne senior citizens, small children, stockings with festering sores Christopher Gillis. Seeking Robinson, and featuring ex­ girls who pop out of garbage like flowers, or badges of and consolation yielded to the clusively local performers. The cans, and a tuxedoed folksinger honour, the dancers were smiling exuberance of people third performance was by earnestly defending drunken­ statues, robots, Cro-Magnon who have seen the light, suf­ Beverly Brown's Theatre for ness; yet it contrived to owe men, emotional cripples. They fused with meaning and the Bodies and Voices, imported as much to dance skill as to formed a conga line of the tenderest of encounters, from New York so that Brown, theatrical talent. The highlight blind, rode piggyback like spirits suddenly freed of all formerly a principal dancer of the evening, however, was a baby koalas, were spun by doubt, soaring, flying, strain­ with the Erick Hawkins Com­ mixed-media piece called High­ centrifugal force, sought ing ever upward. They flew. pany, could teach, perform, est Ground in which Robinson contact, formed alliances and, · They did. I saw them. and create repertory choreog­ explained her attraction to betrayed, dissolved to realign raphy for the Halifax proto­ this odd and original concept themselves with inconstant KATI VITA company. in a stunning dance-cum-film­ reality. Abetted by Jennifer Over that two years and cum-original score which Tipton's mysterious, ambigu­ This review was originally to three concerts, a definite pat­ elicited a standing ovation. ous lighting design, they have appeared in our last issue tern of growth has become At this point the group turned their sightless eyes to­ but had to be dropped because perceptible. The first show was seems to have examined its ward the sun and, entwined, of space limitations. We are almost too eclectic for its own collective soul and decided like the figures in Gustav Vige­ glad to make it available to good; Robinson's group at that that it was ready to call itself land 's monolithic obelisk at our readers now as an exciting time comprising a formless a true dance company. For its Frogner, searched for light. record of an important event. kind of grab-bag of available latest show it billed itself for The mood held ineradic­ (Editor). talent. There were naturally the first time as 'Nova Dance ably through From Sea to far more promising amateurs Theatre'. I confess; I wonder­ Shining Sea (1965), a longish than seasoned choreographer­ ed whether perhaps they had piece of satirical Americana performers - but of the three overextended themselves. in a series of clever tableaux choreographers represented, This feeling intensified

2205, 700 - 9th Street S.W., Calgary, Alberta, Canada T2P 2B5 ;t SUN·ERGOS 4.'f a companv of theatre and dance ~ j Robert Greenwood and Dana Luebke (403) 264-4621 33 DANSE AU CANADA panied only by the stomping cadence of their own running footsteps as they inscribed broad geometries across the entire stage, and once, in a sudden stop-frame pause, by comically exaggerated panting. In a piece that big and that bare, execution is paramount, but the Holts met their own challenge, winning three se­ parate ovations. To my mind it was more exhibition than dance, but I must concede that it was impressive exhibi­ tion. Next Sherry Lee Hunter offered a rather substantial mime dance, Lines. Purists and taxonomists may debate whe­ ther mime is really dance, but no observer could have denied that Hunter's work is artistry. A rubber-faced, rubber-legged gamin, Hunter explored virtual­ ly every one of the puns im­ plicit in her title, with great subtlety and skill, and with an ·hen I took my seat in the walk, sit, recline and roll. A to give promising apprentices infectious, cheeky wit. Dunn. The stage was hung with stone-faced couple in bright­ invaluable performing experi­ It was the final piece of the a number of very beautiful colored oddments undulated ence. In the past she generally evening, stonedrift, which finally quilts, obviously handmade by around each other in exqui­ accomplished this by creating persuaded me that I was wit­ ocal artisans, and I suspected site slow motion. A trio of roles more theatrical than nessing, not merely an evening :hat the first piece, a premiere women in house-dresses gam­ terpsichorean, and calling the of enjoyable dance, but the :'rom Robinson called Elsewhen boled about the stage together. result 'dance theatre'. (Indeed, birth of a company. "·hich constituted the entire Finally the quilt disgorged a until its recent name-change Perhaps this is paradoxical, :irst half of the program, would woman in white night dress; the group was known as Jeanne as stonedrift was not choreo­ prove to be a misguided exer- she appeared almost catatonic Robinson Dance Theatre.) But graphed by any _member of ise in regionalism. (Robin­ with fear, a baby refusing to be by this performance, the pro­ that company. The piece was son's very first Halifax produc­ born. The chattering voices mising apprentices had ap­ commissioned for repertory -mn had suffered to some de­ returned, but electronically parently matured into, if not from New York choreographer gree from a set festooned with processed, garbled and frene­ fully professional dancers, at (and Hawkins alumnus) Bever­ :ishermen's nets and rocks and tic and somehow menacing. least competent rookies, and ly Brown by NDT's sponsor­ ea shells.) The soundtrack, The woman in white reacted Robinson's choreography group. But Brown evidently which faded in unobtrusively with fear and violence, seemed proudly displays this. studied the company carefully efore the lights went down, almost physically to attack the Newcomers Duncan and bdore beginning to choreo­ ·eemed to confirm the suspi­ voices and drive them away, in Angela Holt led off the second graph, and created a vibrant ;:ion: quilting bee conversation a kind of understated Margie half of the evening. They are work which not only employ­ :>etween a group of unmistak- Gillis vignette. That so catho­ a recent and valuable acquisi­ ed its members individual and bly Nova Scotian women. lic an assortment of characters tion for NDT; both are season­ collective strengths to maxi­ My fears were groundless. could ever be brought to­ ed professionals. Duncan Holt mum effect, but drew from Elsewhen took traditional, re­ gether, made relevant to one is a native of Nova Scotia; them strengths that I (and per­ gional ingredients - and infus­ another, coordinated into en­ many years ago he and Robin­ haps they) had not realized ed them with a modern sensi­ semble effort, would seem son toured together in an abor­ they possessed. This dance ::iility, blended them into a most unlikely, yet the chore- · tive attempt at a Nova Scotia looked good on the group, and dance fantasy which spoke to ography accomplished this in performing company, Halcyon the dancers knew it. They city, country, mountain and the space of perhaps 20 Dance Theatre. During a four­ sparkled, flew, hummed - liter­ rairie alike. The lights came minutes without stretching year stint with the Cycles ally hummed and - sang as they :.ip to reveal a kind of super­ credibility. The musicians, Dance Company in England, danced, apparently for sheer _uilt stretched across the stage, Sandy Moore and John Gallo­ he met, worked with and joy. Stonedrift will constitute ~illowing and rolling to the way, switched instruments fre­ married Angela Holt. Their NDT's national debut at the ::notion of over a dozen cover­ quently, from harp to violin, duet, Pontoon, was a kind of Dance in Canada conference ed bodies. The sound of chat­ from guitar to pennywhistle minimalist tour-de-force, al­ this June; it is a worthy vehicle tering quilters gave way to to conga-drum, their work most the antithesis of Robin­ for such an occasion. ive music, harp and guitar, as splendidly matched to the son's dance fantasy, a thing of the shifting quilt began to shifting moods of the dance. sheer movement and sheer GLENDON SCOTT emit,;bodies from beneath its Most impressive to me was rhythm and sheer stamina. I , edges, a few at a time. A smug- the absence of any perceptible Attired like priso~ers of war :y indolent man in white Stan- 'weak links' in the company. in dark shapeless pajamas, the 5. el\tis used the quilt-mass as a Robinson has always provided Holts danced at a dead run, shifting surface on which to pedestrian roles in her work, without soundtrack, accom- DANCE IN CANADA 34 Catulli Carmina Produced by Mario Prizek Choreographed by Brian Mac- donald CBC Television 18 March 1981

Sexuality, as defined on this continent, is a social disease that can be tolerated when it confines itself to clearly pre­ scribed limits; when it strays, it must be punished. Recent events in Toronto attest to the truth of t his statement. Our moral watchdogs, how­ ever, do not always wear cop drag or Progressive Conserva­ tive blue or evangelical collars; sometimes they show up in the guise of avant-garde play­ wrights, rock singers and - ballet choreographers. Ballet has never been a par­ ticularly happy idiom for ex­ pressing sexual desire or sexual union. As anybody who has had sex knows, it is not pri­ marily a question of extremi­ ties; the torso and pelvis would seem to be crucial anatomical components. Classical ballet largely ignores these compo­ nents or, rather, freezes them Brian Macdonald's Catulli Carmina. and t hen forgets about them. Ballet-moderne, that unlikely citly erotic love poetry by the the usual ingredients: vulgar in the fade-out. I do not remem­ idiom, has recognized the in­ Latin writer, Catullus, has gymnastics, strip-show coyness ber any hell and damnation in herent emotional power un­ proved to be a bad temptation and a lot of ill-timed arabesqu­ Catullus. Though wounded by leashed by bringing torso and to many a ballet choreogra­ ing from every vertical and the faithless Clodia (Leshia in pelvis into play - thanks to pher. The very explicitness of horizontal position imaginable. the poems), Catullus did not, Martha Graham - but because the text defeats them time and As a result the orgy scene was either in life or in verse, eschew dancers trained in t his idiom again. Sex is not merely a se­ a good deal less risque than sexual involvement thereafter. only superficially grasp the condary motive in the story of Gaite Parisienne. There was Nor, I am sure, was it Carl meaning of contractions, falls, Catullus and Leshia; like the momentary hope when Peter Orff's intention - German rolls, et. al., that power can bust of the god Priapus in the Ottmann first appeared in the fatalism notwithstanding - to · never be fu ll y realized. A CBC's production , it domi­ role of Catulus' chum, Caelius pronounce sentence on sex. thorough training in modern nates the narrative. - he is a stunner - but as After But that is what the CBC's dance is a prerequisite to com­ On the CBC, we were given Dark magazine has shown be­ Catulli Carmina does. As an prehension. all the accessories of licentious yond a shadow of a doubt, apology for its 'boldness'? One All of which goes to explain love and none of the real pretty does not equal sensual. is tempted to laugh and say, why the most recent ballet­ dressing - or undressing. Kisses Mr. Ottmann would be better 'How Canadian'! But it's time moderne excursion into eroti­ were maidenly, hands to cast as a Byzantine icon. to stop laughing at our sick­ cism, the CBC-commissioned breasts were clinical when not More disturbing. is the fiery nesses . Catulli Carmina is an absolute tentative, and everybody got fate to which the choreogra­ embarrassment. Carl Orff's into bed with their boots on. pher, Brian Macdonald, con­ GRAHAM JACKSON 1943 musical setting of expli- The dancing itself combined signs the would-be lusty Latins

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Yet, the most enduring feature of her ;n her usual emphatic way ," in stage career was Lynn Sey­ 2...,., introduction to Richard mour's ability to draw out an Austin's 'authorised' biogra- audience's sympathy and af­ • hy of Lynn Seymour, Dame fection even wh en she was _ -i nette de Valois describes not at her best. :he renowned Canadian baller­ Perhaps the only real ex­ _.."'l a as, 'the greatest dramatic ception to this was her un­ ancer' of the first fifty years lucky sojourn, marred like so fthe Royal Ballet's existence. much of her career by ill­ These are uncompromising health, in Munich. There, as words from the founder of a director I dancer/ choreogra­ .::o mpany in which Lynn Sey­ pher she valiantly battled with mour never quite seemed to a Byzantine administration in :""'it properly. Her on/off rela­ the opera house and a smug, ::io nship with the Royal Ballet, bourgeois audience whose un­ ._ow, so she herself claims, enterprising tastes she was de­ :'inally at an end, did not al­ termined to change. ways endear Lynn Seymour Austin ends his biography :o her colleagues. In the mid­ with her return to London ::ifties, during her early years and what was to be a revived :..t the Royal Ballet School and career with the Royal Ballet. :hen at Sadler's Wells, she was Then, only last January, came not altogether admired for her the bombshell of her announc­ seriousness. The English way ed resignation from the Royal .s to pretend indifference. This and the classic art form it strong-willed little teenager stands for. Instead she intends ::rom Vancouver must have to develop her already promis­ se emed just a shade unnerving. ing choreographic gifts in con­ De Valois, of course, is junction with the kind of rock right. However much Canadian music composed by her future ~ritics, especially those in (and fourth) husband, Mark oronto, may have been be­ Goodings. Where Lynn Sey­ grudging in their admiration mour will be in another five of Lynn Seymour's frequent years and what she will be do­ guest appearances with the Lynn Seymour in Kenneth MacMillan's Rituals. ing cannot be predicted. What _·a tional Ballet, a fact that is certain, however, is that the ::il eased her no more than the Indeed, Ashton himself ap­ her relentless, u ncompromis­ account of her future career is ~remature over-reaction of her preciated the particular quality ing pursuit of t ruth and integ­ unlikely to be any less fascinat­ :,ometown fans, Lynn Seymour ofplastique in Lynn Seymour's rity in her art. ing than that of her distinguish­ :emains without peer among dancing enough to create sev­ Richard Austin's biography ed days as a prima ballerina dramatic dancers. The phy­ eral roles for her, including, un­ is at its best when it stops try­ of uncompromising individual­ sique and temperament which forgettably, that of Natalia ing by implication, to apolo, ity. caused her to experience con­ Petrovna in-A Month in the ·gize for the tempestuousness siderable difficulty with sever­ Country and the series of solo of Lynn Seymour's private KE VI N SINGEN , of the great classical roles variations, Five Dances in the life (who cares if she thought gave her the power to trans- Manner of Isadora Duncan. end all questions of tech­ By all accounts, and one ;iique in dramatic roles created hears many, Lynn Seymour is especially for her. a 'difficult' person - an adjec­ In a succession of ballets, tive that does not impute an 5-om The Burrow (1958), unpleasant nature so much as :hrough The Invitation (1960) describe a mecurial, untam­ .and then the longer works, able individual whose person­ ' ... Mountain Dance Theatre is Romeo and Juliet (1965), al quest for the ideal and ulti­ versatile .. . outstanding character Anastasia (196 7) and Mayer­ mate reality , the self-destruc­ dancers .. . their work is warm, gentle, ;jng (1978), Lynn Seymour tive bane of many great artists, humorous ... a delight.' Tricia Dunn, :iecame the favoured muse of makes her not always an easy CHOMradio Kenneth MacMillan. Their person to deal with. Early on ' ... funny and delicate and touching .::lose friendship and shared she came to be identified as all at once ... ' Elizabeth Zimmer, The Courier emotional and artistic percep­ one of de Valois's 'little devils' tions helped force a creative and she has demonstrated re­ ' .. . ideas are fresh communications :elationship as productive as peatedly throughout her in a strong dance tradition.' Max M:ultlin lliro:;elheotre ,&IOOGitJi', Sl

KOFFLER CENTRE OF THE ARTS DANCE AUGUST 10 · 28

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£.,.' ..6:,_1 t..,. 4588 Bathurst Street ·~ ·~ -~ V ~ ~, Willowdale, Ontario illlllllll -~ ..... M2R1W6 DANCE IN CANADA 38 PERFORMANCE olo & Keith Urban OF MODERN DANCE CE WORKS SUMMER SCHOOL June 29 - July 17. 1981 1915 Osler Street Regina, Saskatchewan, S4P 1W3 (306) 527-0656 Matinee Perform ce: Th e Little Prince June 28 at 2:30 p.[ll. Tickets: $3 Adults, $2 Students and Se niors Ti ckets on sa le at Box Office INFORMATION: 364-7127

sin: Modern, B et, Ethni Composition and Improvisation, Performance. Limited Enrollment / Personal Attention balle~~s THE jazz DANCE CENTRE les ballets jazz announces the opening of Toronto's Dance Centre Founders: Genevieve Salbaing Eva von Gencsy brand new spacious facilities and studios make The Dance Centre one of the most attractive dance spaces in the city Co-Directors: Dennis Michaelson and Louis-Andre Paquette SUMMER SESSION, JUNE 29 to AUGUST 22, 1981 The Summer Session features an exciting line up of classes and guest teachers Dennis Michaelson Norrey Drummond Vanessa Harwood Jeff Hyslop Judith Marcuse Louis-Andre Paquette Toronto National Ballet of Canada Toronto Vancouver Stello Calaglas Nadia Potts Clinton Rothwell Alan Scofield Lynne Taylor-Corbett Peggy Mccann National Ballet of Canada National Ballet of Canada New York New York Program also includes special children's classes and teacher training courses. Registration June 1 to June 27, 1981

For complete details write or phone for your copy of The Dance Centre's brochure and class schedule: les ballets jazz The Dance Centre, 207 Adelaide Street East, Toronto, Ontario M5A 1 M8 Tel: (416) 862-7114 39 DANSE AU CANADA oticeboard

Desrosiers toured eastern Max Wyman, well-known Can­ Europe in May with Sound­ adian dance writer and critic, stage Canada, a multi-media has received a Canada Council ensemble of musicians, com­ grant to fund a year of inten­ posers, dancers, artists and sive work on his new book, an filmmakers. The group, direct­ historical survey of dance in ed by Lew Lehman, partici­ Canada. He is spending most pated in the Musicki Biennale of the spring and summer Zagreb, an international con­ travelling across Canada and temporary music festival held into the US delving into arch­ in Zagreb, Yugoslavia, May 9 ival sources and conductirig per­ 16. They went on to give 10 sonal interviews. He is concern­ more concerts, including a ed to set the story of Canadian television performance in dance within a broad social Belgrade, Yugoslavia, Szekes­ and cultural perspective and is feherzar, Hungary and Timo­ anxious to hear from anyone soara, Rumania. The works who has useful information to which featured dance included offer. The Golden Section: The Bi­ This summer's Artpark dance ography of a Woman by com­ series focuses almost exlusive­ poser Samuel Dolin with solo ly on ballet. Apart from the dance by Nancy Ferguson, Jose Limon Company Which Somaksah by Robert Aitken, appears at the theatre in Lewis­ also danced by Ferguson, Dis­ ton, New York, August 18 - turbances by composer Mar­ 20, the companies are: The Jennifer Mascall jan Mosetich and Meta! by Pennsylvania Ballet, August 11 composer David Keen both - 16, A Tribute to Pavlova, Vancouver-based choreogra­ The Danny Grossman Dance danced by Robert Desrosiers presented by the Pendleton pher, Jennifer Mascall is the Company made a three-week as well as Michael Pepa'sMock­ Festival Ballet, August 23 and winner of the 1981 Clifford E. tour to Europe this spring ing Bird and Victor Davies' the National Ballet of Canada, Lee Choreography Award. The which included performances Musical Circus for both danc­ August 25 - September 3. award includes $3000 and a in Wales, England and Israel. ers with a full complement of summer residency at the Banff In Wales, the company per­ musicians who also do some School of Fine Arts where her formed in the Grand Theatre, of the dancing. BRITISH COLUMBIA proposed new work-will be Swansea, May 5 - 9, and in Contraband is back in Canada. mounted using dancers and London they performed at the Sara Shelton Mann is still at Mauryne Allan's Mountain production facilities of the Laban Centre for Movement the helm of this explosive San Dance Theatre was forced to School. Jennifer Mascall has and Dance, May 11 - 13. From Francisco dance company and curtail its performing season presented her work all across there they travelled to Israel with her is Byron Brown, for­ 10 weeks early this year as a Canada, in New York and in to participate in the Jerusalem merly of California's Mangrove result of the CUPE strike in London and last summer Can­ Spring Festival and to perform and Andy Warshaw, formerly Vancouver which has crippled ada's Department of External at other centres throughout of Oregon's Joint Forces. Their that city's theatre activity for Affairs sponsored her in a solo the country. Grossman has work combines modern dance over three months. tour of Scandinavia. Her new created two new works for his with contact improvisation, The company has been work, to the Brandenburg company's 1981 season: En­ and embraces an exotic array locked out of its home at the Concerto No.4 in G Major is con­ dangered Species, a war state­ of musical traditions as well Burnaby Arts Centre and de­ cerned with the development ment choreographed to music as very accomplished voice prived of both studio and of movement and patterns by Penderecki, and Nobody's work. The trio's latest collabo­ office space. A series of spring among dancers and will be per­ Business, a lively jazz piece ration is a full-evening work - performances scheduled to formed as part of the dance with music by Jelly Roll Mor­ Contraband: The Child which take place at the James Cowan presentation, August 20 - 22, ton . . they performed at Tangente in Theatre, closed because of the of this year's Banff Festival of Independent dance artists Montreal and at the Toronto strike, had to be cancelled. the Arts. Nancy Ferguson and Robert Theatre Festival in May. The company has lost revenue DANCE IN CANADA 40 Les from performances and dance Earlier in May the company classes while incurring addi­ presented a 30-mi.nute lunch­ tional operating costs for space time performance of works re­ B

During the month of April Van­ SASKATCHEWAN couver's Prism Dance Theatre MIRA A), July toured the Yukon giving per­ In June Danceworks artistic VLADIMIR France), August formances and workshops in director Maria Formolo wili orkshop seven communities including collaborate with Edmonton Carmacks, Faro, Mayo, Daw­ composer Wendy Albrecht on son City and Whitehorse. The a new dance/theatre work for company returned home to children. The piece, based on give in-studio performances a children's story by Kurt Von­ May 1 and 2. The company negut, will have its first per­ co-directors will spend most of formance July 18 in Regina. the summer teaching and chor­ eographing. Gisa Cole will be Guest Teacher: Eva VO MANITOBA teaching a Modern Workshop CLAsJ s AT AL., LE EJ,S for the Island Mountain School Winnipeg's Contemporary ACCOMMODATION ~SSIST ANCE of Arts in Wells, BC during the Dancers have undergone nu­ first week of August. Jamie merous changes of company FALL SESSION FROM 8 SEPTEMBER Zagoudakis has been named personnel this season. One of INFORMATION (514) 288-1677 Associate Director of the Opera the most notable new faces is 1231 St. Catherine Street West, Suite 120 Program of the Courtenay that of J oost Pelt a former MONTREAL, P.Q. H3G 1P5 Youth Music Centre and will principal dancer with The be directing and choreograph­ Royal Winnipeg Ballet. ingMusic Man and co-directing La Boheme. He will also be Sundance is a thriving little UNIVERSITE CONCORDIA A, teaching and performing with dance company in Winnipeg the David Robbins Jazz En­ directed by choreographer CONCORDIA UNIVERSITY S semble. In early August he will Odette Heyn and composer choreograph the opera Othello Fred Penner. It is best known for the Vancouver Opera As­ for its children's dance theatre sociation. but in April and May the com­ pany presented a series of per­ Programme de cours credites ALBERTA formances at the Warehouse de trois ans conduisant au grade de Theatre expressly for the adult The official opening of the new audience. The dances present­ B.F .A. with Modern Dance Major Jasper Place campus of Edmon­ ed were by choreographers ton's Grant MacEwan Com­ Odette Heyn, Stephanie 3 year credit programme munity College was marked by Ballard, Ted ·Marshall, Nanette specializing in Choreography Performance a celebration performance Bevelander and guest chore­ April 21 and 22, produced by ographer Maxine Heppner from dance program head Charlene Toronto. Renseignements: Tarver. The program brought Universite Concordia together the talents of music, ONTARIO Division des arts d'interpretation dance and theatre students in 7141, rue Sherbrooke ouest a staging of Peter and the Wolf The National Ballet toured to Montreal (Quebec) Canada H4B 1R6 by ballet instructor David Luxembourg and Germany, Telephone (514) 482-0320, poste 611 Adams. The Brian Webb Dance May 3 - 23, making appearances Company performed a work in Berlin and Dusseldorf, two For information: entitled Carp Pool. cities which were not included Concordia University On May 20 Sun •Ergos in col­ on its 1978 German tour. This Performing Arts Division laboration with the Woodwind is the company's third tour to 7141 Sherbrooke St. West Society of Calgary presented Germany. Montreal, Quebec, Canada H48 1 R6 The Story of a Soldier to the Stravinsky score (L'histoire du Students of the National Ballet Telephone (514) 482-0320, local 611 soldat). The new work features School presented An Evening Dana Luebke as the soldier, La langue d'enseignement de /'Universite est of Ballet May 7 - 9 at the St. Robert Greenwood as the l'anglais. Les examens et Jes travaux ecrit Lawrence Centre in Toronto. Devil and guest artists John peuvent etre presentes en tram;ais ou en anglais. The program included George Cotton as the narrator and Balanchine's Serenade, Rudi Erin Thompson as the princess. van Dantzig's Four Last Songs, 41 DANSE AU CANADA Dancemakers Choreographic Workshop, and Judith Popiel and the Children's Dance Sym­ phony. In June the PAD host­ ed the Bonnie Sandison Dance Company, a Danceworks work­ shop and panel discussion and Paul Pettiford and Dancers. July featured a young com­ pany from Vancouver, Debbie Brown and Footlites.

The Dance Accompanists' Symposium, to be held in Toronto, August 23 - 30, has expanded its program to in­ clude a full schedule of events for dancers interested in ex­ ploring the relationships be­ tween music and movement. Successful applicants will have daily sessions with accompa­ nist/composer Gwendolyn Watson, accompanist Ricardo Abreut, dancer/choreographer Robert Desrosiers, and chore­ ographer Murray Darroch. Mr. Darroch will be creating a new work with participating danc­ Studen~ of th~ National Ballet School in Constantin Patsalas's Past of the Future with costumes ers to be presented at a public by Maurice Strike. performance the last Sunday the premier of a new work, The phed especially for Dancemak­ May-Day at the PAD was a of the Symposium. This pro­ Past of the Future, choreogra­ ers by Judith Marcuse. The · startling and hilarious affair gram for dancers will be in phed by Constantin Patsalas company has three new danc­ with The Flying Galwampkis. addition to the six full days and a 'Moscow Preview' featur­ ers; Susan Mackenzie, Janet Two multi-talented perform­ of classes originally scheduled ing various divertissements per­ Aronoff and Francisco Alvarez. ers, Grind! Kuchirka and Sam for professional dance accom­ panists. All classes will be held formed by National Ballet. Roberta Mohler and Friends, Walton presented a full-evening School students in anticipa­ of original songs, dances and lots at the spacious new studios of (Holly Small, Monica George, Les Ballets Jazz - The Dance tion of the Moscow Interna­ Janet Aronoff, Tedd Robin­ of dialogue acquainting us tional Competition this June. with Rosa and Mauritzio Gal­ Centre. Further information is son and Francisco Alvarez), available from the Dance in Dancemakers spring season at will be performing together wampki, two hapless members of a now-defunct highwire act Canada Associaition which is Hart House Theatre in Toronto this summer at Burton Audi­ sponsoring the Symposium. featured the company premier torium, York University, July who are trying to break into of Paul Taylor's Aureole. It is 2, and at Harbourfront Studio the glitzy world of show-biz. Members of Pilobolus Dance For the rest of the month Theatre will participate in a an elegant and deceptively Theatre, July 8 - 18. The the PAD returned to the main­ symposium in Dance/Gymas­ simple looking. ballet and was group will be dancing new stream of new dance presenting tics Choreography sponsored ably performed by the young works by Mohler and Robinson Danceworks 22 which featured by York University's depart­ company. William Douglas as well as The Shadow ofMy works by Murray Darroch, ments of Dance and Physical danced the role that was origi­ Sister, a recent work based on Karen Rimmer and perfor­ Education and Athletics. nally created for Danny Gross­ the paintings of Gustav Klimpt mance artists Arnie Achtman Running June 11 -14, the man. Also on the program was choreographed by Mohler with and Marlene Elasz. Following symposium will offer master a new work, Cuts, choreogra- Small. Danceworks was Joan Phillips, classes in dance technique,

No Registration Fee No Contracts

Open Classes All Year Round

Beginner to Advanced Classes in r}fl;;... Jazz, Ballet, Tap ~(s & Other Dance Forms $!1®C!I~®® ACCESSOIRES BALLET & [Ecw)~ DE BALLET ET DE THfATRE. THEATRICAL SUPPLIES rn)!l®~Cs 18 Adelaide St. West ROSSETTI INC. ROSSETTI INC . . 3rd &4th Floors 1481, RUE MANSFIELD ST. 370, AV DANFORTH AVE. MONTRfAL, out H3A 1Y4 TORONTO, ONT. M4K INS $~wC!I~® Toronto 362-6784 TfL (514)288-5978 TEL (416)461-0437 DANCE IN CANADA 42

Linda Chapman and Lisa McLellan in Peste.

gymnastic skills and chore­ QUEBEC Contact trio; The Muse's Com­ feature an historical survey of ographic principles as well as pany in Mise au jeu I Face-off, Quebec dance, past, present performances and panel dis­ On April 1 Les Grands Ballets a three part performance piece and future with pictures, cussions. For further informa­ Canadiens left their cramped combining dance, poetry, and photos, props and notations. tion contact Yves Cousineau old quarters on Queen Mary theatre and Andrew Harwood Quebec Ete Danse moves into (416) 667-3243 or Dave Road and moved into La Mai­ in an evening of solos. The its sixth summer with a new son de la Danse, 4869 rue St­ Pickett (416) 667-3529. final performance of the series artistic director - Yves Cou­ Denis. Their new home is a Ottawa choreographer Odette was at the Pavillion Mt. Royal; sineau - and an impressive renovated gas station which Oliver recently brought her an evening of solos by Jo faculty including Phyllis Lam­ now boasts three studios for new full-evening dance theatre Lechay. hut, Kazuko Hirabayashi, the company and eight smaller piece 'Peste' to Toronto. The Margery Lambert, Ralph ones for L'Ecole Superieure In April Qui Danse gave its work was performed at the Farrington and newcomers and L'Academie, the two di­ second presentation of the Danforth Theatre Centre, Ginga Carmany, Andrea David­ visions of the company school. 1980- 81 season at the studios May 8 - 10, and at the Toronto of Frans:oise Graham in Mon­ son and Robert Desrosiers. Theatre Festival, May 11 - 13 . La Troupe de Danse Point­ treal. The program featured Peste is about the phenomena epienu appeared at the Comedie choreography by Polly Hor­ NEW BRUNSWICK which resulted from the scourge Nationale in Montreal, May 27 vath, Mirjam Van Engers, of the Black Death in Europe,. - 31. The program featured a Charmaine Barcelo, Sylvie St­ The Atlantic Dance Theatre particularly the varying mani­ new work by Artistic director Laurent, Odette Hardy, Lise • presented seven new works festations of hysteria. There Louise Latreille - Fait Divers. Maillet, Anne-Marie Luduc, during its home season, May are 17 performers, some ac­ Daniel Leveille, once christen­ Frans:oise Graham and Martine 14 - 16, in Moncton, New tors, some dancers and some ed 'The Agatha Christie of Pageau. Brunswick and also gave a per­ 'ordinary people', who perform the Montreal dance milieu' formance, May 6, in Frederic­ parallel sets of activities. Half premiered his latest work at Terre des hommes (Man and ton. The company consists of of them explore the physical the Centre d'Essai Conventum his World) in Montreal this 13 dancers under the artistic affects of contracting the in May. Entitled L 'Etreinte, year will present a special direction of Harriet Gratian plague, half shut themselves the piece is based on a text by Pavilion de la Danse. It will and Susan Daniels. away to escape it and find they Yves Navarre drawn from his must deal with developing com­ novel Le Temps Voulu. It is plications which are equally performed by dancers Paul­ horrific. Andre Fortier and Gilles Simard and comedian Gaston In April the Ottawa Dance Theatre performed at the Uni­ Carron. versity of Ottawa's Odean Contact Montreal hosted a Theatre presenting two new series of performances, May 24 works by Artistic Director to June 13, to coincide with Judith Davies, For My Friends the group's three-week inten­ and Ambient as well as works sive workshop. The performanc­ by Conrad Peterson of Les es all based on contact impro­ Ballets Jazz, Gail Benn and visation included, at Tangente: Anna Blewchamp. Catpoto, a women's dance Kenneth MacMillan rehearsing Merle Park in his new ballet Isadora to he collective; Correlian, a male seen in Toronto in July when the Royal Ballet visits the O'Keefe Centre. 43 DAN SE AU CANADA Letters

Dear Sir, copies of every back number The Cultural Section of the you still have in stock. Embassy" receives your maga­ Sincerely, zine regularly and I get im­ Leslie Getz mense pleasure from reading Getz Dance Library it. I find it is in every way the Palo Alto ideal magazine for dance and California ballet lovers. Yours faithfully, Simonetta Allder Dear Sir, Canadian Embassy Let me congratulate you on Rome your excellent publication. l have recommended your ma­ gazine to all my company Dear Sir, classes. I have just received my first Dancingly, issue of Dance in Canada. I Iris Kampitsis think it is a superb magazine Mt. Royal Classical Ballet and I would like to get single Montreal

Correction We apologize to the Nation­ Hope to stamp out cultural al Ballet for an item in our stereotyping in ballet. Ac­ last issue which may have tually, neither the National suggested that changes were Ballet nor choreographer to be made in the chore­ Celia Franca have agreed to ography for Nutcracker as make any changes. The a result of lobbying by matter, however, is to be Toronto alderman Ying ' kept under 'ongoing review'.

Quebec Summer Dance Lennoxville, Quebec

Ballet - Modern - Jazz

Dance Teacher's Programme July 11 to 25

Kazuko Hirabayashi - New ·York discover Ralph Farrington - New York Margery Lambert - Ottawa

DANCE Dance Technique Programme at the University of Waterloo July 25 to August 15

Phyllis Lamhut - New York Ginga Carmany - New York A unique dance programme Leonie Kramer - Amsterdam offering honours BSc and BA Robert Desrosiers - Toronto degrees. For information contact: Information: 839 Sherbrooke Street Eas , The Dance Department, Montreal, Quebec H2L 1K6. Tel: (514) 52 University of Waterloo, -re: Waterloo, Ontario N2L 3G I. Artistic Director: Yves L-Ph. Cousineau DANCE IN CANADA44 Dance at a Glance

Ricardo Abreut Contemporary Dancers, Winnipeg Lumitrol Limited 'Theatre Design Joseph Shulman, The Other 264 Ontario Street, Apt. 4, A Winning Style. For fees and Centre' Agency, Public Relations Toronto, Ont. (416) 368-9589 booking, contact Dena Deeter, Spotlights, Dimmers, Curtains, 1179A Bloor St. West, Toronto, Extensive experience in dance. 2nd fl., 444 River Ave. Winnipeg, Supplies, Professional System de­ Ontario M6H 1M9 Accompanist-Percussionist-Im­ Manitoba R3L OC7 (204) 452-1239 sign, manufacture, sales Telephone (416) 532-6519. provisation Five Walker Ave., Toronto, Ontario Dance Concepts Studio M4V 1G3 Bruce Whitehead, P.Eng. Lois Smith Les Ballets Jazz, Ecole Superieure Biosomatics (intensive stretch & (416) 921-6060 George Brown College School of 1231 St. Catherine·St. W. strength) Ballet; Dance (514) 849-6071 Graham technique; Creative dance; Heather Menzies Studio of Dance 200 King Street East, Toronto Montreal, Quebec H3G lPS Yoga; 681 Markham St. (Bloor­ Arts (416) 363-9945 Jazz, Classical, Tap Bathurst) Tor; 533-2103. Lillian 702 Burnhamthorpe Rd. East, Ballet, Pointe, Character, Modern, Prof. Adv. Int. Beg. Jarvis, director Mississauga Jazz, Junior, Senior and Adult Scholarships Jazz, Classical Ballet, Tap, Modern Classes. Two-year diploma program Founders: Genevieve Salbaing, Dancemakers Tel. (416) 277-8346 - professional level. Eva von Gencsy Offers open company classes in Limon & Graham technique Mon.­ Mercury Studio of Movement Mascha Stom Dance Centre. Les Ballets Russes de Montreal Fri. 9:30 A.M. $3 per Adv. & Prof. Modern, Ballet, Body Awareness, Offers to Semi-professional & pro­ Director: Mikhail Berkut only. 736 Bathurst St. Toronto Jazz, Improvisation. Weekend fessional dancers, July, August, Classical Ballet (Russian Method), 535-8880 Workshops. Classes daily. only, Classical Ballet, Classical Ballet-Jazz All levels. Pro rates. Spanish, Contemporary Dance, & Beginners to Professionals. Rehears­ Ecole Nouvelle Aire 51 Bulwer St. (Queen & Spadina) Music as Related to Dance, intense­ al Facilities Cours de danse moderne: place­ Toronto 862-0562 ly prepared for Studio Exhibitions. Summer Course: 29 June - 27 Aug. ment au sol et technique Limon. Special course for Students. Ac- 1981 1231 St. Catherine W, Tous niveaux. Tel: (514) 286- Ontario School of Ballet and ' commodations Available. Montreal (514) 288-1677 9690. 1276 Sainte-Andre, Mont­ Related Arts Tel. (416) 685-4331. real, Quebec HZL 3S9 1069 St. .Clair Avenue West (mid­ Studio - 41 Byron Street, The Bayview School of Ballet and way between Oakwood and Duffer­ Niagara-on-the-Lake, Ont. Canada. Bayview Dancers, AM/PM classes, European Summer Music Festivals in), Toronto, Ont. M6E 1A6, Cecchetti, jazz, character. M. Sor­ A reference/guide book - over Phone: 656-9568. Sun Ergos, A Company of Theatre rell, Director/Teacher. 130 Willow­ 200 festivals - 29 countries - dates Registrations accepted 4 terms per and Dance dale Ave., Willowdale, Ont. MZN addresses - 1980 programme high­ year. Dana Luebke & Robert Green­ 4Y2, 222-5111. lights - dance festivals - prices - Ontario Ballet Theatre wood, Directors 2205, $9.95 plus $1/copy p. & h. Write: Performing Oct. 25-April 30. For 700-9th St. SW, Calgary TZP 2B5 Canadian College of Dance-Ryer- , Concert Connection, PO Box 1114, information call: 656-9568 Tel. (403) 264-4621 son Theatre Dept. Station 0, Toronto M4T 2P2. Performances-Classes. Teacher and Performance Courses PEI Ballet Association Coaching for RAD and !STD Gladys Forrester-Veronica Mazer (Ballet, Pre-Ballet; RAD Adult), Theatrebooks Limited 50 Gould Street, Toronto, School of Dance Jazz-Stretch, !STD National. 659 Yonge Street M5B 1E8, 595-5086 Veronica Mazer Director Classes Mon-Sat Info: (902) 894- Toronto, Ontario M4Y 1Z9 Mazer Dance Theatre 4608 or (902) 436-2498 PO Box (416) 922-7175 Centre of Movement Intensive studies in ballet, modern, 2384 Charlottetown. Canada's finest selection of Dance Our movement and dance work character, jazz books. flows from the body's natural abil­ 30 Titan Rd., Unit 30, Toronto Prism Dance Centre-Nucleus of ity to move efficiently and freely. M8Z 5Y2 233-6702 Prism Anna Wyman School of Dance Arts Strength and balance come not Dance Theatre 1705 Marine Dr. West Vancouver, from straining and overdeveloping Simon Fraser University Centre Directors - Gisa Cole, Jamie BC, V7V 1J5. Ballet, Contemporary muscles, but through ordered move­ for the Arts Zagoudakis, Danille Clifford Jazz, History, Anatomy, Gym for ments rendering resilience and Evan Alderson - Director Individual styles in Modern, Jazz, Dancers, Adult beginner to breath. MOVEMENT ESSEN­ BA degree program with a dance and Ballet advanced. TIALS FOR EVERYDAY LIFE, major in an interdisciplinary fine 518 West Hastings St., Vancouver, Li\1PROVISATION, DANCE. On­ and performing arts department. BC V6B 1L6 (604) 681-6715. York University: Dance Depart' going classes. 466-9549. Contact Tony Besant (604) 291- ment 3363. Quinte Dance Centre Yves L-Ph. Cousineau, Chairman, Chissamba Chiyuka Full professional program to gra­ B.A. (Hons), B.F.A. (Hons), Perfor­ Classes in interpretive dance of Le Groupe de la Place Royale duate level. Enquiries invited for mance, Notation, Teaching, History, West Indian & African origin. Ex­ Classes in modern dance, ballet, winter and summer schools. and Criticism, Dance Therapy; ercise to music; children's classes. music & movement, voice & move­ Box 534, Belleville, Ont. K8N 5B2 M.F.A. in History and Criticism or Telephone Toronto 447-9590 or ment. Beg. to prof. (613) 962-9938. Notation; SUMMER SESSION: 633-7466 . 130 Sparks St., Ottawa (613) 235- Credit or non-Credit. (416) 667 1492 Russian Academy of Classical 3243, 4700 Keele St., Toronto, The City Ballet Ballet Ltd. Mary Aslamazova, Di­ Ontario Ballet, Pointe, Jazz. 23 Brentcliffe Diana Jablokova-Vorps School of rector. Classes for children and Rd., Unit 352, Toronto, Ontario Oassical Ballet-Kirov Method adults, day and evening, from be­ M4G 4B7 Tel. 421-8223 Art. Dir.: Toronto Regional Ballet ginners to professionals. 9 3 5 Bloor Classified M. Bayer, Director and Toronto Summer School in St. W. (at Ossington), Toronto, Dance Ontario, M6H lLS; (416) 532- Ballet Teacher (Cecchetti) for Classical Jazz Dance Company 1920 Avenue Rd., Toronto, Ont. 2993. summer school in Collingwood. Hal Mischka, Director MSM 3B9 (416) 489-7597 Reply to: Box 69, Collingwood, Blending Ballet with contempo­ The Bonnie Sandison Dance Studio Ontario, L9Y 3Z4, Tel.: (705) rary jazz movements Kyra Lober Jazz, Tap, Ballet and Conditioning 445-7133. 427 A Queen St. W. 3rd fl., Developmental Repatterning and Classes Toronto MSV 2A5 Experiential Anatomy to Facili­ Beg. to Adv. for amateur or profes­ Full time non-Graham modern and (416) 364-9876 tate the dancer's ability to perform sional dancers ballet teacher required starting with more power, precision, ease 18 Adelaide St. West, 3rd Floor, September for commercial school Concordia University and pleasure. Group Classes and Toronto, M5H 1L6 (416) 362- affiliated with Le Groupe de la 7141 Sherbrooke St. West Individual sessions. 6784. Place Royale, international tour­ Montreal, Quebec H4B 1R6 304 Spadina Road, Toronto ing company. Send resume to Developing Programme in Modern 928-9364 Peter Boneham, 130 Sparks St., dance & Creativity in Scholastic Ottawa, Canada MlP 5B6. Pro­ year. Professor Elizabeth Langley fessional teachers with broad ex­ Tel : (514) 8 79-5803 perience only please.

1981 Special HEADLINE INSTRUCTORS WHATEVER YOUR GOAL : The FINEST Dance Facilities ot its kind DAWN SNOW • a beginner who wants to learn the fundamentals of means 'GREAT DANCE' for you • Teacher, Choreographer dance • huge outdoor and indoor facilities YMCA-YWCA London, Ontario • have FUN at a 'Sports Speclalty' camp • ample room for private practice sessions • Member of Dance Caravan, and • MAKE the chorus line - in the next musical • first class leisure time facilities National Association of Dance • LEARN about choreography and Affiliated Artists (NAO.A.A • POLISH your dance style • Extensive experience as Director Choreographer OLYMPIA OFFERS YOU the • Member of Theatre Ontario TOP PROGRAM of its kind in Canada Talent Bank •- 7 day sessions • Member of Dance in Canada • widely e1Cperienced resident • 16 years experience in Private teaching staff n .. ;u:111 Education • oo e instructor for every 10 DONNA A. PETERSON campers • Donna R. Peterson. Assoc. Prof., • 5-6 hours of studio instruction Faculty of Physical Education, per day Univ, of Western Ontario DANCE CAMP • iostant video tape replay • Bachelor of Fine Arts, Master of Fine Arts, Univ. of Utah • Taught at the Univ. of Calif. at INTERLAKEN. MUSKOKA Santa Barbara and Univ. of Utah before coming 10 Western ONTARIO, CANADA • Studied with Alwin Nikolais, and THERE'S MORE .. . MANY MORE Murray Louis, Yuriko, Paul DANCE HIGHLIGHTS FOR YOU Sanasardo, Al Huang, Shirley Ri rie. Joan Woodbary, Viola • Ei.:ploratlon of dance applica ­ Farber, Jose Limon tion for theatrical production • Past Chairman - National Dance • Instruction in basic choreo- Comminee of C.A.H.P.E.R graphy • Choreography for T.V., Opera, • Films and dance criticism Musicals&Oance • Goal setting sessions • Banquet DEANNE SHORTEN • R.A.O. Advanced Certificate INDIVIDUALIZED Dance Instruction (highly commended) • Royal Winnipeg Ballets • you will be ·placed in classes structured to your ability Pr ofessional School levels • Hea d Choreographer & Principal • small classes and individual anention allow you to of Deanne Shorten School of progress at your own rate Daoce, Loodon, Ont. since 1974 • you will be e1Cposed to different types of dance and styles of instruction ■ •LINDA 15 Years PECORA in Dance • 7Years ioGymnastics • Trained with Marilyn Savage • Taught Gymnastics for the gives you s,.~ r~orough Board of Education • 011g1nel Member of the Wrnstonettes camp fee / $195 / for 7 day session includes: • full dance program • room and board "The Winning Edge" • fun filled waterfront and recreational program fo, • each camper receives: Success OLYMPIA • T-Shirt • Pre-camp ;n • Decal conditioning program • Poster • Dance notes Athletics & Life • Certificates • Motivational kit • Dance Evaluation Profile OLYMPIA'S Dance Program is a Total Experience to make you a Total Dancer Write or phone for OLYMPIA DANCE SportsC ""41 detailed brochure and CAMP Ii become eligible to WJN 62 Ridg8Yale Drive • progressive instructi~n in tap, ballet, baton, modern Girls9-18 jazz and acrobatic movement a free week at OLYMPIA Toronto, Ontario, Cenade August 9-15.1981 Each Headline Instructor will be at Olympia for the entire • analysis of your dance eHcution and style M6A 1l1 week to ensure the finest quality of dance instructioo. • instruction in the dance titehoiqua and composition (416) 783-0589