A grand bouquet to Dance in Canada from Les Grands Ballets Canadiens. Here's to the next ten years ! Les Grands Ballets Canadiens souhaitent a Danse au Canada que les dix prochaines annees soient un bouquet de reussites. ~Sfflns Issue Number 39 Spring 1984 Printemps

Michael Crabb Editorial Consultant FEATURES

Jack Cunningham Annette av Paul 2 Advertising A Fond Farewell and a Fresh Beginning KATI VITA Charters Litho Inc. Production Making it Happen in Montreal: 11 Tangente's Dena Davida

Published quarte rl y by Dance in Canada Association (a non­ CAROL LIBMAN profit organization, registration #00221-22-23) 38 C harles Street East, T oronto, M4Y I Tl , Ontario, (4 16) 921-5 169. Stephan D ymond Executive Director. The views expressed in this publication a re not necessaril y those of Dance in Canada Women in Dance: Part I 15 Association. A ll rights reserved. CopyrightCl 1984 by the Dance in Canada Association. Subscript ions:$ ID /yea r; $18/two yea rs; The Impact of the Feminine Consciousness $ 15 institutions. Outside Canada add $3.00. Back issues a re available in microfilm from Micromedia Ltd., 144 F ront St PAULA CITRON Wes t, Toronto, Ont. M5J 2L7. Limited copies of back issues are available at $3.50 each fr om the editorial office. Send change of address, subscription o rders, b ac k issue orders and undeli verable copies to Da nce in Canada, 38 Charl es Street East, Toronto M4Y IT! , Ontario. Printed in Brampton, In the Spotlight: 20 Ontario by Charters Litho Inc., Second class mail registration #03874. Return postage guaranteed. ISSN 03 17-9737. Gregory Osborne

Unsolici ted manuscripts ca nno t be returned unless KEVIN SING EN accompanied by a stamped, self-addressed envelo pe. Dance in Canada publi shes in offi cial language of ori gin .

Special thanks to The Canada Council and T he Ontario Ministry of Citizenship and Culture. A new Force on the Calgary Dance Scene 24 Denise Clarke and Anne Flynn Pu blication trimestrielle de I' Association Danse au Canada ANNE GEORG (organi sation a but non lucratif, numero d 'enregistrement: 00221-22-23), 38 C ha rl es Street East, Toronto M4Y IT!, Onta ri o (416) 92 1- 5 169. Directrice executive: Stephan Dymond. Les o pinions exprimCes da ns cette revue ne sont pas nCcessai rement cell es de !'Association Danse au Canada. To us Enseigner avec souplesse: 27 droits reserves. Copyright Cl 1984, Association Danse au Canada. Abonnements: un an: $ 10, deux a ns: $ 18, institutions: $ 15. Ou l'art de s'adapter a sa classe Et ranger: ajouter $3. Pour obtenir d'anciens numeros su r MADELEINE LORD mi crofil m, s'adresser a: Micromedia Ltd., 144 Front St. West, To ronto, O nt. M5J 2L7. Un no mb re li mitC d'ancicns numeros sont disponibles au bureau de la redaction a $3.50 le nu ITl Cro. Adresser vos cha ngemcnt d'adresse, demande d'abonnement, commande d'anciens nu meros et tous numeros non livres a DEPARTMENTS Oanse au Canada, 38 Charles Street East, T oronto M4Y !TL Ontario. Im prime a Brampton, Onta ri o par Charters Li th o Inc., N° d'enregi stre ment de courrier de seconde classc: 03874. In Review 31 Noticeboard 40 Frais de reto ur garantis. ISSN 03 17-9737.

Les manuscrits ne seront pas reto urnes sauf s'ils o nt ere Book Beat 39 commandes ou s'il s sont accompagnC:s d'une enveloppe adressee et affranchie. D anse au Canada publie lesarticles dans \eur langue d'origine. COVER: Remercie men1 s a u Conseil des A rts du Canada et a u Minis1Credes Affai res civiques et cul tu re lies de !'Ontario. Annette av Paul in Brian Macdonald's Adieu Robert Schumann. Photo by Robert Etcheverry.

CREDITS Greg McKinnon, page 32 Robert Etcheverry, page 7, 8 Martha Swope, page 37 Bernard Bohn, page 11 James E. Strickland, page 40 Andrew Oxenham, page 17, 21 , 31 , 44 Doug G uildford, (drawing), page 38 2 DANCE IN CANADA Annette av Paul A Fond Farewell and a Fresh Beginning

By Kati Vita

This much is history: Stone Flower (1962), and roles in Principal dancer of the Royal Swed. Paul, Annette av (also Tudor's Echoing of Trumpets ( 1963) B. until 1972; and now freelance. Wiedersheim-Paul); b. Stockholm, and Macdonald'.s While The Spider (The Concise Oxford Dictionary of 1944) Swed. dancer. Studied at Royal Slept (1965). Married Macdonald; Ballet, Oxford University Press, 1977, · Swed. B. School;joined Royal Swed. has often appeared as guest in his bs. p. 406.) B. 1962. Created Katerina in Grigo­ for the Royal Winnipeg B. (e.g. Rose At the farewell gala, held at Montreal's rovich's Stockholm prod. of The La Tulippe, 1966) and other comps. Place des Arts on February 11, 1984, Annette av Paul's 40th birthday, there were curtain calls and speeches, floral tributes, telegrams, kisses galore and a CBC-TV crew filming from the wings while contralto Maureen Forrester sang Happy Birthday. Afterward, at the reception, where every­ body was Somebody, there was a graceful marzipan ballerina atop a gigantic chocolate cake, and wall-to-wall nostalgia. The woman being feted, a dazzling green-eyed blonde, wore a long white gown and glowed from within. Next Tuesday, at 9:30 a.m. sharp, Annette av Paul was back at the barre, at the place cf honneur, at the front of the rehearsal studio, that she had earned during 14 years as reigning ballerina with Les Grands Ballets Canadiens, the territory she had just given notice she was about to relinquish. Ovenvhelmed by genuine affection The gala, which would be reported next morning on cross-country radio and televi­ sion, had been, like so much else about a career on stage, a carefully orchestrated trompe I' oeil production. Annette would continue to dance past this l,072nd performance with les Grands Ballets; there would be a Swan Lake and Lilac Garden coming up in March, and a nine-week tour to the orient that Annette herself had helped to set up. All week she had been willing herself to treat The Night as "just another show in Saskatoon" but when it finally came to an end, she found herself overwhelmed by the genuine affection that suffused what could have been just another show biz event. It was coming to her; she had paid her dues. For most of that Saturday night audience it may have been sentimental hoopla but Annette av Paul had been working towards this moment for 32 years. Annette, age nine, on holiday in Sweden. "I shall always remember her as the most beautiful and She had been eight years old when she skinniest child", says choreographer Antony Tudor. first caught a train with her mother in DANCE IN CANADA 3 suburban Ronninge and travelled the 30 km to Stockholm for her first ballet lessons. Her teacher thought she had talent and, six months later, so did the Royal Swedish Opera's Ballet School which took Annette and four others from 500 auditioning that year. "I shall always remember her as the most beautiful and skinniest child in the school", recalls choreographer Antony Tudor, later head of the Royal Swedish Ballet. "I looked so funny in those days", Annette chuckles. "I had long legs and knobbly knees, a little short body and these huge feet. At school kids would look at my feet and say that they were deformed". The long legs and big feet signalled a body born to dance, her cool Nordic beauty a natural for the stage. Habits of hard work grew naturally out of the Lutheran work ethic and as a response to her parents' total commitment.

A peripatetic ancestry: a bohemian milieu

Comparing notes decades later with tennis star Bjorn Borg, who had lived nearby, she found they had trodden parallel paths. "His parents took him to tennis practice; mine travelled with me to the city five times a week, come rain or come shine. The time it took!", Annette marvels. "And I wasn't even an only child." The eclectic bohemian milieu at home Stockholm, 1962. With Yuri Grigorovitch, Soviet choreographer of Th e Stone Flower. instilled in all four children a longing for creativity and a rebellious fighting spirit. Annette dances, her sister teaches music, "I remember dancing the Grand Pas from I remember winters when there was no heat one brother became a cause celebre in Paquita which is a very old fashioned ballet or charcoal in the house and my parents Sweden when he battled authorities to and very tricky. Minkus' music is so tacky would take us out to the back balcony and legalize natural medicines and the youngest that if it's not played well, you can't get it rub us with snow to make us hardy." has just written a musical about drug abuse. right...and I just couldn't get it right; the There was a lot of warmth nonetheless. Her peripatetic ancestry converged from feeling wasn't there, I didn't feel honest "Ours was a crazy family" , says Annette Prussia (Wiedersheim) and Italy (Pollini, going on stage with it. And suddenly I happily. " We were all painting or drawing; shortened to Paul) to settle in Sweden 150 thought ofmy grandfather", - the timbre my sister sang, she played the piano and years ago. Shake the family tree and writers, of her voice changes as she smiles at the harp but for violin practice she was painters, dancers, musicians come tumbling memory - "and I thought, he would have banished to the basement because none of pe ll mell from the branches. A long ago loved this! And that just released the whole us could stand it. I was a tomboy and I Wiedersheim-Paul even fought at the Battle performance." played soccer with the boys. If my teacher of the Plains of Abraham; another became a It is not an isolated instance. "Fouettes had known, she would have killed me but sheriff in Chicago. are so horrendous", Annette grimaces, "but it's so easy to become totally absorbed in Her paternal grandfather, Adolf Paul, when I think of Elizabeth, my brother's little the ballet world, to become sterile, and I've was a well known author, closely involved daughter", and she is already showing snaps always wanted to be real." ..ith the young Turks of the Scandinavian of a small, cherubic blonde, "there is no As in Victorian novels, reality was never rnnt garde. Strindberg and Munch were problem. It's all neat and fun and I finish far. "Often my father would paint just in ::iends. Sibelius, a class mate in Berlin, them and they're divine." exchange for food. Luckily , we had a Tote incidental music for his play, King Her roots obviously sustain her. The big wonderful, wild garden where we grew ·ristian II. red wooden house in Ronninge, where her vegetables to tide us over. We knew things Almost prophetically, he wrote a bio­ mother still lives and, at 77, still gives piano were tight but somehow we never really phy of the eighteenth century Italian lessons, was always filled with music and the feared life. " leri na, La Barberina, equally famous for children "listened with big ears" to " wild "My father was an idealist. he was ~ entrechats huit and scandalous love Sunday afternoon di scuss ions about basically a painter", says Annette pointing · .airs. Adolf Paul died the year before philosophy". to a painting of a waterfall spill ing over a -nette was born but his kindred spirit still " We had a rea lly great childhood", precipice that has pride of place above her -rers her in times of need. Annette muses. "We never had any money. desk , "but he did a million other things." 4 DANCE IN CANADA

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Contact in Canada: 551 est Mont-Royal Montreal, Quebec H2J 1W6 (514) 524-3749 DANCE IN CANADA 5 " He taught lighting for photography, and handicapped people how to write, he lectured on the history of wigs and costumes and he illustrated dictionaries. He worked a lot at home but sometimes he would just take his easel and disappear into the mountains for a couple of weeks to paint". "My mother wasn't a dancer but she'd had dance training and she gave classes to small children and to housewives. I often went with her; we'd go by sleigh and take along our old, hand-cranked record player. It was a real antique". Post-war Sweden was just emerging from decades of isolation and when foreign dance companies came to town, Annette's father sketched them. "Both he and my mother took classes in Hindu dance from Ram Gopal", Annette recalls. "They thought it was great because all that stamping kept your feet warm. I was so impressed, I remember for my first talent show at school I put my mother's curtain rings around my ankles and went as Ram Gopal".

Child among the stars

But like a long line of dancers before her, (Robert Helpmann traces his career to a hi.Id hood glimpse of Pavlova) Annette was mi tten even earlier. She was an impression­ able eight year old when she saw her first allet, a Finnish legend called The Earth and • 1e Wings. "From that day forth", she says seriously, "I knew that I wanted to be a As The Princess in Brian Macdonald's production of The Firebird: New York, Harkness Ballet, dancer, and I wanted to be a good dancer. If 1967. _.ou don't aim high, you won't get ~nywhere" . Birgit Nilsson, and I was on stage with clock watching doesn't produce artists; it's .. Later on I may have cried every Ingrid Bergman when Roberto Rossellini stifling". Thursday night after class from sheer brought her Joan of Arc to Stockholm". "Dancers in Sweden are given contracts exhaustion but I never had to struggle like "I'd like people to know that all that for life; you dance until you are 46 and then J ' my friends at school, trying to figure out existed and that it had great value. There is you get your pension. So you see a great ,hat to do with my life". so much that I would like to transmit", she many aging dancers who don't care any Annette entered the Royal Swedish sighs with that "ou-sont-les-neiges-d'antan" more, and they are still dancing, and they Opera's Ballet School at a time of renewal. look in her eyes. cannot be fired because they are there for .... raditional subservience to the operatic "The Opera House used to be so life. I decided right from the start that I :-epertoire came to an end with the arrival of beautiful! They've rebuilt it now - I danced wasn't going to go on until I was fired or 1ary Skeaping, who had danced with at the reopening gala there last summer with until I started slipping;downhill". Pavlova and was a specialist in mounting David La Hay - and do you know, my "Annette has always seemed to me to be ; assical and historical ballets. Skeaping was dressing room is gone. It's like they wiped ice, devoured by fire", says an ardent · Lowed by Antony Tudor, a master of out my past. We had a company of 75 admirer given to purple prose. _ . chological nuance and contemporary dancers and 115 in the orchestra. "Here", Some of that fire must have been evident nee entered the repertoire with Birgit she makes a sweeping gesture that encom­ even at age 17 when Bolshoi choreographer Uberg and Ivo Cramer in the mid fifties. passes a continent, "we're lucky ifwe have Yuri Grigorovich, visiting from Moscow to ine and Balanchine also entrusted 40 musicians. It was non-pareil training and mount The Stone Flower in Stockholm, rks to the Swedes. Annette's training had it was all free". plucked her out of the school to dance the :oot in the best of both worlds - and not Nonetheless, she feels she got away just in lead role of Katerina. : ballet, either. time. Pictures of the time show the determined .. The children formed a pool of talent "All that paternalism robs Swedes of jut of the av Paul chin and huge, • was on call whenever the opera needed initiative", she says with regret. "They black-fringed eyes in a dainty face ... just like .:-o \'d scene", she says, reaching for frown on private enterprise. Would you the Katerina doll the wardrobe department ·her photograph. "This is me in believe, one weekend when I was practising gave her as a memento which, hardly the - hauser. I was in Carmen with Kerstin on my own, I was actually turfed out of the worse for wear, she has carried to every ._ er - she got top billing of course; I studio because, I was told, we were not single performance since The Stone Flower =- m Turandot with Jussi Bjorling and being paid to work overtime? That kind of premiere on February 28, 1962. 6 DANCE IN CANADA

review that followed her first Swan Lake, she was "half-way through the pond". As Macdonald, then resident choreo­ grapher of the Royal Winnipeg Ballet moved around the world, successively becoming artistic director of the Harkness Ballet in New York and eventually of Les Grands Ballets Canadiens, Annette moved with him, a constant Galatea to Macdo­ nald's Pygmalion. There was understandable envy in dance circles. "Annette had to prove to the company that she deserved all those roles", says Vincent Warren, a favorite ex-partner. "I must say, Brian helped her by giving her all those challenges. He is a strict task master; she'd be ready to drop and he'd push her just a little more. Brian had a very beautiful object in his hands and he analyzed it and tempered it to make the weak points stronger". "But", observes Toronto critic, Penelope Doob, "Annette always gives a hundred per cent which is not an invariable quality in dancers". Annette is wounded by suggestions that she traded on her clout as the boss's wife. "I had to wait 10 years until he'd let me dance Time Out of Mind", she complains mildly. She does not define their relationship in Oslo, 1973: guest star of The Norwegian Ballet, seen here rehearsing for The Nutcracker with terms of roles but as one of shared partner Jens Graff. creativity, "bouncing ideas across the dinner table", an aspect of her career that will be hardest to let go. On opening night she got 42 bouquets like Swedish spring: a French haute couture and had them duly photographed for model that cost her an arm and a leg. "I The dancer who gives a hundred per posterity, laid out on her mother's green walked to the Opera every day for a month cent carpet. Overnight she became the toast of to save tram fares; I ate old cans of Stockholm. She was still a child - "17 in spaghetti, beans, whatever was left in the those days corresponded to 14 today" - cupboard - but it was worth it!" "Theirs is a marriage based not only on carrying full responsibility for filling the They were married in a tiny church on a love but on mutual admiration", says Opera House. But she knew she had a foot nearby island the following December. Vincent Warren. Brian believes in Annette's in the door. Elizabeth Soderstrom, a close friend from line and Annette believes that Brian is the The catalyst who propelled her through the Opera, sang Grieg's I Love You. "There Canadian choreographer". the door two years later was Canadian wasn't a dry eye in the house", jokes For all her sisyphean efforts in search of choreographer Brain Macdonald. He was Annette. the elusive goal, Annette is not a competi­ on his way to the U.S .S.R. on a Canada Becoming Mrs. Brian Macdonald also tor. "Brian's energy level is much higher Council scholarship when he paused briefly meant taking on a stepson just 10 years than mine and in 19 years of living with him in Stockholm to set hisAimez-Vous Bach? younger than herself. Although having a I've realized that I can't keep up with his on the company. And went on his way. younger brother herself mitigated the task, schedule; so I've stopped trying". "For some reason", says Annette, 20 in retrospect she wonders at her courage. "Here's a woman who was a genuine star years later still somewhat puzzled, "I cut out She saw Wyatt through a troubled adoles­ in her homeland", muses a close associate, Brian's photograph from the house pro­ cence - "at one point he phoned me from "and she's had to accept playing second gramme and stuck it on the piano at home. I Wales to announce: Ma,I've quit school and fiddle to Brian's international success. But if didn't expect ever to see him again but he I'm hitch hiking to Sweden" - but, she it's presented problems in their marriage, came back in March". says, "he's wonderful and just brilliant. He I'm not aware of it. There was a time, a They went out a couple of times. "We received the Governor General's Gold couple of years ago, when Brian was had about 100 words to communicate with Medal when he was only 14. And", she adds everywhere but home and she was feeling a because", she explains, ''I'd flunked English with obvious relief, "the tables have little lonely and it was a hard time for both in school". The chemistry must have been turned" . On a recent visit to Toronto, it was of them. Their long distance phone bills are potent because on Walpurgisnacht, when bearded Brian who slouched into a astronomical. But they have survived this". there are bonfires all over Sweden and restaurant in sweater and jeans to meet his Macdonald is fiercely protective of his everyone greets the coming of spring, clean shaven son, spiffy in jacket and tie. wife. " When I signed Brian as a personal Macdonald proposed. Marrying Brian Macdonald had an client, a condition of the contract was that I Annette still has the wispy brown chiffon incalculable effect on Annette's career. sign Annette as well", says his press agent. dress she wore that night. It is very subtle, When she left Sweden, in the words of a He tirelessly supervises the minutest details DANCE IN CANADA 7 of her career. Says one publicist: "he can be quite heavy handed". ·'Even so", marvels one critic whom Brian had taken to task for neglecting to mention his wife in a review, "instead of being counter productive, it increases one's admiration for Annette's ability to elicit uch loyalty and caring". Off-stage accolades are unanimously reminiscent of depositions at a canonization hearing. Sacha Belinsky, her first partner at G BC, who dropped her once in rehearsal, causing serious injury, says quietly: "she never blamed me or said a word to make me feel bad". An arch foe of Macdonald's calls her "a lovely lady, a model for us all" and contents himself by adding: "they're proof positive that opposites DO attract each other". Of all the tributes read out at the Place des Arts, ( ... une aussi brillante carri- ere .. . P.E. T.) choreographer Fernand . ·ault's wire from Atlanta summed up the consensus best. It spoke of the security that :1er professionalism had given the company, With Jacques Drapeau and Maureen Forrester in Brian Macdonald's Adieu Robert Schumann. of an "unforgettable premiere danseuse and a human being of extraordinary qualities". Annette. "I knew then that my style was year have taken their toll. softer and that it would take longer to be "My doctor tells me my body is like a The serenity and insight of a practising recognized but this was my language and 25-year-old's but my feet are 65", says Buddhist only I could say what I wanted to say". Annette ruefully. Dancing is never finite, Her style has been variously described as like an athletic record that, once achieved, is Some inkling of those qualities was on subtle, elusive, aloof, adjectives that elicit an yours for ever and such is its bitter irony ,iew fo r everyone to see when Annette enigmatic smile from her. Says Penelope that when you finally manage to weave all .anded over the first bouquet of the evening Doob: "she has a warmth, a generosity, a the strands together, the body rebels and the ·o a promising youngster who had just mature presence, that will be missed". To heart must listen. -·-ringuished herself in a role Annette had Jacob Siskind of Th e Ottawa Citizen, "there Annette almost retired last September -eated. is something about her carriage, the angle of when the effort began to outweigh the joy. In her life, as in her art, Annette is , first neck to shoulder, that's instantly recogniza­ She returned home after a three-month fo remost, a team player. She is a ble as Annette". absence - "I don't care if I never see my ;;:-actising Buddhist, with the emphasis on Tobi Tobias of New York magazine was suitcase again" - and threw herself into an :-:-actising. "I read and chant 45 minutes in not at a loss for adjectives in 1982 when she orgy of chutney making. The neatly labelled ~ morning and half an hour each night. wrote: "Her compact body and dazzling jars in her kitchen are silent witnesses to her :·s not a magic wand that dissipates all Nordic coloring emphasize the clarity and efforts at normalcy. . our cares; more like a good breakfast, decisiveness of her movements. Even her "The one thing I am really looking : · ·1 ual protein, that gives you strength for flimsiest roles benefit from her theatrical forward to is having time" , she says. "As an ·-~ rest of the day". wisdom; she knows when a movement needs artist you are always giving, and that's what Sixteen years ago when the culture shock an extra fillip, when stillness, to make it I want to do, but there is so little time to . 5nding herself in the thick of the New project". refill, to nourish yourself, to ask: what do I ·ork dance scene threatened to engulf her, There was a time when Annette aspired to want"? · - responded to the serenity and insight London Festival Ballet and wanted to Before Christmas she was so exhausted ·- r Buddhism offered. "It has helped me to audition for Beryl Grey, "but she couldn't that she went into hospital for two days of eep things in perspective", she says, her come for three days", after all these years tests, only to be told what she already knew: • e of humor surfacing, "though some- the memory still rankles, "because she had that she was tired. Since then, a new regime I have to chant a LOT". to have her hair done" . If she did not pursue of vitamins has rejuvenated her. With added her name never became a household the matter, it was a conscious choice, says stamina, she jokes, "I sometimes wonder d, it was because her priorities changed. Maureen Forrester, an old pal, "to have a why I'm retiring; I feel terrific". Overwhelmed by the "technical monsters husband waiting for her at home instead of She is not afraid of retirement. She has . ·ew York who could jump higher, turn washing her tights in a different hotel room already had a couple of dry runs. Eleven ··er and balance longer", she decided that each night". Perhaps she simply rationalized months off with an injury, and having to ;e was more to dance than technique, a that being a big fish in a smaller pond would retrain her body completely after the raked ng reconfirmed on a French tour when give her more opportunities to dance and Swedish stages, have given her a taste of -,tine Hennessy, the Royal Winnipeg certainly at Les Grands Ballets Canadiens enforced solitude and lack of immediate r's dramatic star, was awarded the she has had that. purpose. But she is toying with enough ideas e d'or for Macdonald's Pas d'Action. The porcelain exterior camouflages a core to make a mockery of the word. know myself as an individual", reflects of tempered steel but 120 performances a "There is a loom in the front room that I 8 DANCE IN CANADA

Surrounded by past and present members of Les Grands Ballets and by friends and colleagues from across Canada and abroad, Annette av Paul acknowledges the standing ovation of the Places des Arts audience at the special tribute held in her honour, Montreal, 11 February, 1984.

haven't quite figured out yet", she enumer­ The reverie comes to a momentary stop dubbed Agnes. "It is an in joke", explains ates, "I want to see if I still enjoy painting as as she contemplates her kitchen. Even there, Annette. "We were invited to Agnes de much as I did when I was child and I'm the alpine calendar, mint tea from Fau­ Mille's one day and she must have been dying to try pottery. I want to get my chon's, green tea from Japan, are casual interrupted in her preparations when she driving license finally and catch up with my reminders of two globetrotting careers. came to open the door for us because one reading - find out what's going on in the "I wanted to dance a lot and I have. I eye was made up and the other wasn't". world. And I want to brush up my have done Sugar Plum and Swan Lake and There is no child in the house, a source of languages. Maybe open a flower shop, Sleeping Beauty and Giselle. Sure, I missed muted anguish to both. At age 40, with one though not immediately because that would out on Miss Julie, and even though I loved miscarriage behind her, Annette has not be another kind of bondage. And I want to creating the Princess in Brian's gorgeous abandoned hope. "There will be time for work for the peace movement; I've known Firebird, I'd always had my eye on that bird everything soon", she says, "maybe even a that potentially we can all get along ever - I guess no one can dance everything but baby". since I first went to an UNESCO camp for I've had my share. I feel very good about it. Macdonald towers over his 5'2" wife and kids when I was 10". I don't regret one step". contemplates her affectionately. Supper "I think I would enjoy helping to set She flashes a small smile at the classic exit time is approaching and the topic switches Brian's ballets", she says, "I do know what line but there is no mistaking the intensity as to Annette's prowess as a cook. Brian's eyes he wants and I have done it before". she reiterates: "all this will come in useful turn heavenward in a mock swoon as he Like the practical Swedish housewife she somehow". recalls one memorable ad hoc creation of is, she wants to put her experience to chicken and peaches, the non-existent recipe "I don't regret one step". optimal use. "I have danced in over 100 lost for ever. Preparing for a new career, ballets and I would like to transmit it all", It is dusk and the candles are lit, a Annette thinks she might start with a cook she says fervently. "There are subtleties you Swedish custom that Brian Macdonald book. Others think she will aim higher. learn over the years. I've done Brian's, adopted with alacrity. The spacious ground "She has worked with the best in her Tudor's and MacMillan's versions of floor apartment - "our first real home on career", says her press agent, Joey Shulman. Romeo and Juliet. I've worked with this continent" - is their refuge. A tiny "That makes for very high personal Nureyev, Fonteyn, Bruhn and Orlando urban garden yields blackberries that standards. I have a picture of Annette in my Salgado from Cuba. Veronica Tennant and Annette turns into brilliant purple schnapps office holding the most beautiful pose. It is I shared an acting role in a musical. I've had by adding sugar and vodka. "It cures every perfect. It serves as a constant reminder to people like Glen Tetley and John Butler ailment", she says jestingly of the afternoon me that it is possible to attain perfection in create for me. I danced in the CBC's first ritual. Two cats nestle in a wicker basket, one's life". color spectacular, Rose La Tulippe; and for still as ornaments. One is Tiger, the other's Swedish TV and the BBC". assymetrical marking immediately got her DANCE IN CANADA 9

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Royal Winnipeg Ballet School Professional Division David Moroni, Principal Summer Session '84 Dancemakers July 12-August 16, 1984 Artistic Directors: Carol Anderson, Patricia Fraser

The Royal Winnipeg Ballet School Professional Division offers an intensive training to dance students beginning at age nine. Ballet technique is based on the Volkova Development of the Vaganova (Leningrad) School, combined with the Cecchetti Method. Various other disciplines are offered, depending upon the students' level of development. The Summer Session is in residence at the University of Manitoba and may be undertaken as a full five week, Toronto Spring Season featuring or a three week session. The five week programme serves as an extensive audition period for entrance into the Fall/Winter session. A full dance curriculum is works from company members, offered, including Master Classes with Galina Yordanova (Bulgaria), boy's ballet with David Moroni and a Carol Anderson and a new Teacher's Seminar (July 27 -August 3). Admission to Summer School is primarily by audition. Written commissioned dance by James applications, from students living in cities where Kudelka from Les Grands auditions were not held, will receive second priority. Spring Auditions Ballets Canad iens OTTAWA, Ontario Thursday, April 26 NATIONAL ARTS CENTRE WINNIPEG, Manitoba at Winchester Street Theatre, Sunday, May 6 80 Winchester Street, April 25- ROYAL WINNIPEG BALLET STUDIOS Audition applications will be available at the audition 26-27 -28, 1984 at 8:00 p.m. sight. There is a $10.00 audition fee. For additional information regarding auditions or Summer School contact: Janice Burdon, Royal Winnipeg Ballet School, Information: 535-8880 Professional Division, 289 Portage Ave., WINNIPEG, Manitoba, R3B 2B4 (204) 956-0183 DANCE IN CANADA 11 Making it Happen in Montreal Tangente's Dena Davida

By Carol Libman

In the beginning man - and woman - danced to express joy, exaltation, grati­ tude. In paintings on the tombs of Egyptian pharaohs people are dancing before the temples of the gods. In the book of Exodus we read that Miriam, the sister of Aaron, took a timbrel in her hand, and all the women went out after her and danced in thanksgiving for their safe passage across the Red Sea; according to the ancient Hindu legends of India, the God Shiva created the world through the rhythm of a dance. In Montreal, overlooking the neon signs of St. Catherine Street and Bleury, there is an oasis for new, innovative dance - a place where experimentation in the art of movement is begun, nurtured, then flung out before the curious and sometimes astonished eyes of an ever-growing public. The place is called Tangente: danse actuelle. Tangente is a space, but more than a space. Its evolution is in keeping with the evolution of dance as an art form directly related to social, personal, even political developments of this half of the 20th century.

Tangente is more than a space.

The key figure in this burgeoning activity is a youthful, bilingual American-born dancer, Dena Davida, who has made Montreal her home for seven years, and who has the drive and the ability to make things happen. A spiritual descendant of the great breakaways from conventional dance - Isadora Duncan, Martha Graham, Merce Cunningham and beyond - Dena is happily balanced on the far edge of "new dance", which is about as accurate a description as one can get in English. The French term, "danse actuelle", is more accurate. It means what is happening now. Tangente is the only artist-run space in Canada devoted exclusively to the presenta­ tion and promotion of new, innovative, experimental dance. In three years it has become the focus of new work in Quebec and its influence is fe lt right across the country. In the beginning about 80 per cent of the work shown came from outside _ a Davida in No t Exactly with Difficulty but with Effort; choreographed by Paula Ravitz. Quebec (including a great deal from New 12 DANCE IN CANADA

York); the rest was local. Now the balance Quebec and other parts of Canada and the "In fact, the exciting, innovative choreo­ has switched. United States. graphy that has been going on in New York How did Tangente come to exist, and In January of 1983 Tangente made a big the past ten years has been helped why in Montreal? In the late 1940s and early move, from the 50-seat space on St. immeasurably by the existence of several 50s there had been a breaking away from Lawrence to the former Vehicule d'Art dance spaces, such as Dance Theatre traditional dance, led by such choreo­ Gallery at 307 St. Catherine West. Now up Workshop, the Riverside Church Dance graphers as Fram;:oise Riopelle, Jeanne to 150 people can be seated and two large Space, the Kitchen, and now there's a new Renaud and Fran,;:oise Sullivan. By the studios are busy with dance classes from 9 one - probably the hottest dance space in early 1970s, when Dena Davida began her a.m. to midnight. New York - P.S. 122. That's a play on summer sojourns in Montreal, there was In recent months the other three originals words. It's an old public school, but the almost no space dedicated to new dance and have decided to concentrate more on their initials also stand for Performing Space. only two modern dance companies - Le own personal careers and less on Tangente, "And although I still have my beef with Groupe de la Place Royale and Le Groupe although both Guillemette and Silvy Panet­ Canada Council, we have been receiving Nouvelle Aire. Her own training was in Raymond contribute what time they can to very welcome funding from other areas for theatre arts, theatre production, dance and Tangente, for example serving on the jury special projects - chiefly the Quebec the teaching of body movement. On her way which must sort through the dozens of Department of Cultural Affairs and the from Minnesota, where she was studying applications received each year to determine federal Ministry of Communications'. and teaching, to visit her sister in Nova who should be invited to fill the 30 to 40 The ambitious "Dance Exchange, New Scotia, each summer for four years she available week-end slots each season. York-Montreal", the first of such magni­ stopped in Montreal, getting acquainted The key to Tangente is still, however, tude for Tangente, held over three week­ with other dancers, communicating in her Dena Davida, a dynamo who manages to ends in March at Tangente, and one ever-improving high school French. While attract to her side others who share her week-end for Canadian dancers in New there wasn't a lot of new dance being vision. Joining her recently have been York, was funded by a $20,000 grant from performed, there were lots of dancers and a Johanne Charlebois (a young dancer who Quebec under a new program called lot of interest in dance, theatre and poetry. came to work on a government grant and "Intervention Nouvelle", and an amount of Six years ago she decided to make Montreal stayed to help when the grant ran out), $38,000 from the Department of Communi­ her home. Jean-Pierre Cote, whose goal is to become a cations for "Special Cultural Initiatives". lighting designer and administrator, and "... a dynamo who manages to attract to Each weekend program listed both her side others who share her vision". Jean- Pierre Frechette, who has a small American and Canadian dancers - eight management company and donates admi­ New Yorkers in total and seven Canadians. nistrative services. Other young people, In 1977, working with Chan tale Pontbri­ Vancouver's Jennifer Mascall, who per­ mainly students, contribute time, energy and (now editor of the contemporary art formed at Tangente February 23 to 26, magazine Parachute), Dena organized a and ideas. The entire staff works without joined the Quebec contingent when it series of performances by independent salary. performed in New York. choreographers at the Montreal Musuem of People who have come up against Fine Arts. She persuaded eight dancers to Tangente's fierce protector say Dena Dav­ "I've a nervous, tough exterior, and I'm create a piece and 500 people stormed the ida is a tough lady underneath the calm very fragile inside". museum to see the program. This led to a exterior. two-year series of post-modern dance Dena laughs at that. "I think it's the other During the past few years, local dancers performances, with most of the Judson way round. I've a nervous, tough exterior, have developed loyal followings. By pro­ Church people coming up from New York, and I'm fragile inside. But I'm energetic, gramming the New Yorkers with Quebec and - at Dena's insistance - the inclusion and people will interpret that as tough, dancers, audiences were encouraged to view of a series of showcases for Montreal and because when I have an idea I go for it". the out-of-towners. At the same time new Toronto choreographers. Out of that Tangente, in actuality, runs on vision, Montreal compositions were showcased experience grew Qui Danse?, an independent energy, determination, plus box office against the very slick and polished New choreographers' cooperative, which no receipts, rentals, small government grants, York work, creating a volatile, exciting longer exists. and hope. experience for both dancers and audiences. After two years of organizing performan­ While the Dance Di vision of the Canada The audience, which is growing, cross­ ces of the work of independent dancers, Council does offer some help to independ­ cultural, but largely Francophone, is a jumping around to different - usually ent choreographers and companies, there is special component in the success of inadequate - spaces, one of Dena's no special category at present for funding Tangente. For the public the attraction is to colleagues, dancer Louis Guillemette, found artist-run "new dance" spaces. be surprised, to patticipate in an adventure, an empty store-front with a couple of floors "I'm grateful for the various government to feel the electric c9'1nection between above, on St. Lawrence Boulevard, near de (federal, provincial and municipal) pro­ dancer and spectator. Maisonneuve. Dena, Louis and the two grams we have been able to tap into, but I "You have to be game", admits Dena. "It other originals - Howard Abrams and look at the visual arts and how they're took me four years before I could see Silvy Panet-Raymond - took over and supported by the Canada Council, which Post-Modern dancers and not get bewil­ transformed this space into Tangente, danse looks with favour at artist-run spaces in that dered. I'd sit there and think they were actuelle. Financed by their own money, discipline and I ask why can't dancers have being deliberately obscure, and that put me volunteer labour and by renting out space the same advantages? I look at Dance off. Then, as I studied and experienced more for classes, they organized a regular Theatre Workshop in New York City, with of their work I began to understand. At calendar of events. Every week-end from 15 years of struggle and survival and I see Tangente there's great variety. Always. September through June you could witness what a dance space has meant to the New Some you'll like and understand. Some you experimental, exciting - and sometimes York dance community, and I know that's won't. The variations are endless. Some of it mystifying - work by choreographers from what we need here. is easily accessible, even to the untrained DANCE IN CANADA 13

:=:,e. But whatever happens, you have to be to large institutions. Here we are in the forever, that's true. But so far I'm managing lling to be open, to take a chance". eighties and I'm surviving! the balancing act". The same attraction holds true for the "I love dance. I've chosen it as my work. Her first effort at choreography, Chacun performers. By this time almost every It's very exciting to be able to work here in pour Elle is in itself something of a balancing exponent of the "new dance" in Canada, Montreal, in Canada. That's why I live here. act, both in its satiric look at female-male d many Americans as well, have danced I'm the kind of person who tends to live in roles and in the physical demands of the a: Tangente. Even those involved in the present, but I'm learning to plan ahead, piece. It took several months to develop the ddle-sized companies who rent middle­ say three to five years. I'm learning to be an dance which Dena performs with partner s:zed theatres find the intimacy ofTan­ administrator, and to see things in terms of Daniel Godbout, and which has been gente's space ideal for their newer, riskier stages. I look at David White at the Dance directed by stage director Jacques Lebel. In ""ork. It is also an affordable stepping-stone Theatre Workshop in New York, and I it Dena lifts her partner, and also ten other ;""or those on the rise. At Tangente it is realize the stages he has gone through to men! The movements range from the almost impossible for the dancers to lose accomplish what he has in 15 years. His athletic to the lyrical. The ten men are not . oney. The rent is only $100 per night, space is not physically larger than ours; the dancers, but are drawn from among friends · hich comes out of the box office. At size of the space is never the point. Now he's who are invited to participate. The piece entrance fees of $6 ($5 for students), 18 got an electronic media system, a mailing was unveiled at Tangente in November and people walk in the door and the space fee is service for dancers, a poetry series, a music has since been performed in Quebec City, covered. Performances are Thursday series. And I don't worry that we can't do Ottawa and in Alma, Quebec, where the ten :. rough Sunday at 8:30. In addition, everything right away. That's what saves men were members of the host gallery's -angente's full-time volunteer staff provides me, knowing that it goes stage by stage, and board of directors - astonished, but game! :echnical help and promotion. if I look at what we've done in just three There is no rehearsal, but each is invited to years, I'm already amazed". join Dena onstage, to be lifted, held or Fo rging a Montreal-New York nexus. In addition to the New York exchange, a carried in several ways. Paris connection is being planned for next "The role reversal is a sensitive business", Promotion, in fact, is continuous. Three fall. For the past four years Dena has been she says, grinning at the recollection. "It's ·· es a year Tangente produces an attrac­ spending part of each summer in Paris, very amusing". ·'•;e, glossy calendar of events, well-designed teaching, giving workshops and last year as She has been invited to perform at a .a.TJd informative. The critics come regularly head of a mission for the Office Franco­ festival in Paris in April, and Chacun pour .and news paper and radio coverage is Quebecois pour la Jeunesse. She found that, Elle will be unveiled for Toronto audiences --~equent. as in London, new dance in France has been at the Dance in Canada conference this The space, itself, is conducive to experi­ greatly influenced by the strong American June. '""'lentation. It is the only space in Montreal touring companies, and for a while this gave Many choreographers who begin in such .;.: this moment that has no fixed seating and rise to a style that was derivative of places as Tangente go on to enrich the n be set up according to the artist's needs, American work. However, this too is repertoires of more conventional ballet and ,:;, lh the audience in the round, on two changing, and Montreal audiences should jazz ballet companies. However, whatever , or in a U-shape. Dancers have been have a chance to see what the new, young, the spin-offs from new dance into more :iown to vary the seating from night to innovative dancers of Paris are coming up traditional companies, Tangente intends to ___ ht. with in their search for individual styles of stay on the cutting edge. --when companies are forced to rent movement, subject and presentation. "There is always new work", declares • ger spaces, at $400 or $500 per night, the Dena Davida, as do many dancers, makes Dena Davida. " As far as individual dancers x office becomes so important", com- her living as a teacher, at the Unfversity of go, there can come a turning point when nts Dena, "that the artists can't afford to Quebec's Montreal campus. With that making your work popular and pleasing ·• ·e as many chances. And then dance taking up a good portion of her time, and overshadows the creative aspect. But it is :agnates. You have to go for a wider public Tangente taking up a good deal more, does impossible to be both accessible and d then you can't do certain things. The she resent the administrative demands made artistically honest. I would like to see people · ork begins to limit itself'. on her energy and creativity? get as excited about coming to see new What drives Dena Davida? " It's a delicate balance", she admits. "I dance as they are about going to see new She laughs. "I was asked that several think of myself as a dance curator, a dancer, films" . . ears ago, and I figured it out. I'm from the and lately I have begun to do my own ·es, from the States, and had a - well, a choreography - something I didn't think I Editor's note: •·ision" I guess you'd call it - of would want to do. While Tangente requires To receive Tangente' s calendar of events, - "viduals working together to create new a great deal of my time, it nourishes me as write to 307 rue Ste-Catherine, 0 ., Montreal, ;::proaches and new forms and alternatives well. I don't want to be an administrator H2X 2A3, or call (514) 842-3532.

2205, 700 - 9th Street S. W ., Calgary, Alberta, Canada T2P 285 \~ SUN·ERGOS 4:r· a company of theatre and dance • j · Robert Greenwood and Dana Luebke (403 ) 264-4621 14 DANCE IN CANADA

·, < ~ -- ' -- .__ ..;,;:: ·- ·------__ _.... - - - ~~~ Central This unique national Program Canadian Tour provides training in fundamen­ '?!/J~chool tal business practices related October 1984 l , nee BRANKSOME HA LL to artistic organizations. It JULY 2 - JULY 27, 1984 DIANA JABLOKOVA-VORPS, Artistic Director features case studies, guest FACULTY: lecturers and leading business FERNAND NAULT, figures in the Performing Arts Les Grands Ballets Canadiens HAZAROS SURMEYAN, as well as the organization and NOW BOOKING The Na tional Ballet of Can ada management of " In Perform­ LORNA CEDES, The Na tional Ballet of Canada ance", a series of Events held at NICOLE VACHON, Confederation College. Les Grands Ballets Ca nadiens CONTACT: VICTORIA CARTER, MARCIA CROSSLEY This two-year Program ALDA HENISS ' combines studies (two fall Paula Ross Dance Company Classes for al/ levels of professionally semesters at the College) 3488 West Broadway oriented dance students, 8 yrs, & up, followed by work (two winter Vancouver BODY PLACEMENT CLASSES FOR ADULTS RESIDENCE ACCOMMODATIONS Placement semesters) in British Columbia FOR BROCHURE WRITE TO: management positions with V6R 2B3 Carl D, Vorps, General Manager, Toronto Summer School in Dance Performing Arts Companies Telephone: (604) 732-9513 15 Armour Boulevard ' throughout Canada. The Toronto, Ontario Canada MSM 389 (416) 782-2292 • (416) 489-7597 Placements give students the opportunity to apply the know­ ledge and skills acquired during the fall semesters and to benefit The Qoh "on-the-job" from the guidance George of seasoned professionals in Brown CZ3alle! the Performing Arts Industry. PROGRAM COURSES College Basic Communications / Introductory Accounting / Public Relations/ .. 9/mdemy Community Development/ Human Resource Management / Marketing th e Performing Arts/ Touring and Company . ) SUMMER SCHOOL 1984 School Lois Smit/, Management/ Performing Arts and July 3-August 15 Society /Facilities Management/ Artistic Director Performing Arts Management of Dance CHOO CHIAT GOH Accounting/Fund Raising / ~~ Artistic Director Organization Structure and Internal SUMMER SCHOOL '83 ,;(':_ _c' Relations / Performing Arts and ---, . Aesthetics / Politics and Poli cies of the Junior Division r\_;,, --...... :_~ ~-- FACULTY Choo Chiat Goh Arts in Canada/ Contract Administration July2- 27 I . · ., --_ . and Labour Relations / Computers in Society / Performing Arts Management Seni or Division and Workshops. Adu lt Divis io n •• ·\ ,~ ~-~<-...,_. -- -~t~:g~1::th J ul y 2 - August JO ,' , Jaydene Ireland

Pcrforrnam:c opporruniri C' , f1,r Senior Dh i~ion ,c 11< knr, \ .:,·,_r- ·-- - .-i _, · Preschool to For further information write to FACU LTY INCLUDES Intermediate/ or call.· Advanced levels David Adams Denis Langelier Alain Pauze i - Carma Leyds , l For further information Program Co-ordinator \.'. please write or phone collect: Performing Arts Management For further information Confederation College Contact T he School of Da nce 2214 Main Street, P.O. Box 398 Geoq.(e llrown Coll ef(C Vancouver, B.C. Thunder Bay, Ontario P7C 4W1 P.O. Bo, IO 15, Station 11 (807) 475-6320 Toronto, CANADA MST 2T9 V5T 3C7 (+16) 363-99+5 Phone: (604) 872-4014 (604) 872-4220 DANCE IN CANADA 15 omen in Dance: Part I The Impact of the Feminine Consciousness

By Paula Citron

.\J,hough the virtuoso ballerinas were the :xai point of 19th-century ballet, it was the en who surrounded them - the compos­ :!':'S, choreographers, managers, teachers and .::itics - who kept the dancers, so to speak, _ their toes. As Vancouver choreographer ?a la Ross says: "Dance is a feminine art · :m which historically was run by men". llen Isadora Duncan danced out of these • - ctorian restraints, her rebellion opened flo odgates for women to become _- reographers and administrators in both _,, et and contemporary dance - in short, : take control of their artistry and become :.. leaders in their field. The dominance of women in dance has ;:-obably been helped by the fact that the art rm in the 20th century has not been taken ~:iously by men who have generally - - issed it as superficial entertainment and _ =.ditional role for women. Patricia Beatty T oronto Dance Theatre) explains: "Dance a good place for women because men · ed to see us this way - graceful and ·~nsuous. Men decided that dance belonged : women just like they decided that boxing ::ielonged to black men. I know what it's like :o be treated as a dancing girl!" In -=arching this article, the writer came :a.c.oss many stories which illustrate the _ rural unimportance of dance in particular the performing arts in general. Friends :md relatives of Paula Ross tended to treat ..,,.,r choreography as a hobby, while Denise

"?tfen decided that dance belonged to u:omen".

F:ijiwara (T.I.D.E.) finds she gets respect ::om people outside the field only when she Pointepienu's Louise Latreille. ::alls herself a choreographer rather than a ~ cer, the former application being asso­ ::i.ated with power. In the same vein, Maria from dance; the money earned is not devoted to feminist issues, paralleling those Formolo (Edmonton) relates that her considered sufficient to support a family produced by their sisters in literature, ner, Keith Urban, is often asked if he and men, who respond to the profit motive theatre and film. One reason given for this ::a.nces full-time, the assumption being that more than women, are influenced by this lack of political focus is the insular nature of : !.S not a man's job. The father of Louise fact. In the final analysis, men gave away the craft. Dance is a physical and :_aueille (Pointepienu) supported her desire control of dance because, as Leica Hardy all-consuming art, and the rigorous training :o dance but discouraged her brother, a (Toronto) says: "It was suitable for women lends itself to isolation. As well, women in :.alented musician, from pursuing a career in and faggots!" dance have been in a privileged position. :;;e arts. He became an engineer. As Peggy In an art form dominated by women, it Linda Rabin (Montreal) explains: "I don't _ k Cann (Toronto) points out, the eco- becomes obvious that missing from their have the need to choreograph feminist :- mic reality has tended to exclude men repertoire to any extent are the works issues because I have never felt threatened 16 DANCE IN CANADA

by men or experienced sexism in my work. <;arriere (Montreal) adds that choreo­ men but there is an impression that we are Women dancers have found utopia. They graphers who do make specific statements not. Certain feminist questions were bother­ can do what they want without men tend to work in dance theatre, or as Maria ing me so I stopped talking about them and imposing on their freedom. It's a woman's Formolo states: "If I wanted to deal with made dances instead. The first, Madame Est field". Kathryn Brown (Pavlychenko Stu­ concrete images, I would have chosen Servie (1981), deals with the conflict a dio) takes this theory one step further by another medium". In short, to many of the woman undergoes who has both a profes­ saying that women outside dance define women interviewed, dance and politics are sion and a family, but who lives with an themselves by causes because they lack a dichotomous. "Is there ever a question of unsympathetic man. In the second work, strong sense of identity which women in men's issues or men's choreography?" Monsieur Est Servi, I show a man's attempt dance have found in their work. 'Tm a demands Leica Hardy. "Why then should to meet a mate, only to find that after creative person first", says Brown, "and a women have to deal with women's issues. marriage, she wants more freedom than he woman second". We should be making dances about 'people' envisioned. The last piece, Monsieur et The lack of overt feminism in dance may issues". Madame Sont Servis, shows the relationship also be a direct result of the art's non-verbal Nonetheless, women choreographers between a couple and against a background language; dance, except in its narrative have used dance for the specific purpose of of romantic music, I have shown very form, does not lend itself easily to concrete making political statements - the Wall­ unromantic situations. The works are funny issues. Content, therefore, tends to deal with flower Order in the U.S., The Clichettes and but not funny. After Nouvelle Aire, I feel abstractions in the form of pure dance, or Peggy McCann in Canada. Here are two I'm into my second career and that I'm universal themes which explore the human examples illustrating feminism in dance and finding myself all over again. I'd like to see condition with its larger concerns. Muna the reasons behind the choreography, one more of life on stage - older dancers, for Tseng (New York) elaborates: "Dance is by a well-established artist, the other by a example, to show the beauty of autumn. I subjective and expresses the internal world. newcomer. now want to express myself in verite - Because men concentrate on the external truth". The lack offeminist issues world and its values, they dominate visual Louise Azarello is a young Toronto language such as painting. That is why Martine Epoque was a co-founder of Le choreographer who is struggling to stay in dance is such a natural vehicle for the Groupe Nouvelle Aire, a seminal force in dance by juggling several waitressing jobs to expression of women, a woman's voice. Quebec dance whose school was the training make ends meet. "Dance is a performing art Dance does not make a political statement; ground for many of the province's choreo­ and should be related to the rest of the instead it conveys an ideal state, an graphers. "I realized that experimental world. I think that there should be more ideology, and because it is a physical theatre was exploring feminism but that 'woman kinds of things' in dance because I language, the work validates itself by its dance wasn't, probably because women can want women in the audience to be conscious structure, not by its content". Diane succeed in dance. We are surrounded by of the struggle. I'm sexually harrassed every day ofmy life by bus drivers or bosses. So much of dance, because of its abstractions, is not reaching the audience. It's hard for me to accept that people just want to dance and not think about life outside. There may be a nuclear holocaust. How can you ignore life"? Azarello's first work was a solo to the spoken text of a short story by feminist writer Grace Haley. "Wants" (1982) des­ cribes a meeting between a woman and her ex-husband, and as they talk about their relationship, it becomes clear that the man has no conception of what caused the women's unhappiness. He felt that the marriage collapsed because she did not understand his "wants"; in truth, he could not accept the fact that she had " wants" of her own. The dancer portrays the inner agony of the woman. Doris Humphrey, the great American pioneer of modern dance, once said that it is very difficult to use the medium for specific statements as the nature of the physical vocabulary leads to wide interpretation. For example, at a Danceworks workshop in Toronto, Sherri LeBlanc'sReflection (1983), a piece about rape, angered many women, because one felt that one of our own had portrayed the female as provocateur, the victim getting what she deserved. In the discussion following the performance, it was discovered that the choreographer had intended the complete opposite - that the Carol Anderson in Paul Taylor's Aureole. woman, simply because of her outgoing DANCE IN CANADA 17

:;:,ersonality, was in grave danger because a by pointing out what is wrong, but what is that women in dance present an antidote to -;--.an found her a sex object. Ice (1974), a possible". the technocratic world of men and that their ork by Jo Lechay of Montreal, was For the choreographers of French Can­ work is an attempt to reach harmony from - pired by pictures of athletes frozen in ada, this viewpoint is particularly poignant. discord. "Technology and materialism have .:ramatic positions and because she delights According to Martine Epoque, the fact that warped the spirit of human nature", says ;:J -uong movements, her five women women are expressing themselves openly Maria Formolo, "and dance is helping =cers were given a very physical and and translating life onto the stage is a society by putting people in touch with their ·hletic choreography. No one was more statement in itself, and she refers back to the feelings". Perhaps Jo Lechay speaks for all s!lrprised than Lechay, however, when time when most Quebecois women lived a women in dance: "There are so many :eminists embraced this work as a statement life of subservience, controlled by their catastrophic issues in the world, I ask myself :or the cause because her dancers were in fathers, husbands and priests. "Dance has what right do we have to make our little mies counter to the usual female been part of the awakening of the women in dances. This is my rationalization: in a ,:ereotyping. Quebec", says Chantal Belhumeur (Danse mechanistic high tech world, by celebrating Thus, one must conclude that choreogra­ Partout). "Our energy is exploding and just the beauty of the human body and the ;::h.ic works, even those of a blatantly to be creative is being political". Or as human spirit, we women are making a plea ;x>litical nature, are strictly a statement of Louise Latreille states, " Feminists are for humanity in an inhuman environment". ;:iersonal expression. Women choeograph talking, not doing; I'm doing"! Thus, the collective feminine conscious­ because, in the words of Paula Ross, The feminine consciousness also has a ness is seen as the keeper of the spiritual ··Dance is necessary to my well-being, a special influence on management skills, flame and the artistic works of women asic essential way I communicate" . according to Patricia Fraser and Carol choreographers are, therefore, a symbol of ·omen do not view dance as masculine or Anderson, the artistic directors of Dance­ civilization and humanity - the legacy of :~eminine, but as a reflection of their own makers. "Our skills are unique because the leadership of women in dance. e ·perience, and this leads to the belief put woman managers create an environment of ·orward by Karen Rimmer (Vancouver), caring. Personal and human values are :;:;at because a work is created by woman, it respected because we see our dancers as our ·'-erefore stands for the essence ofwoman- resources. Women can also accept human ood and thus, there is no need for overt frailities and are more attuned to personal :eminism in dance. 'Tm a woman", says Jo sensitivities. We create companies that are l..echay, "and I work from my uterus, my families of dancers". This emphasis on g-~t. My art doesn't have to be political humanity leads to the wider view expressed ;:;ecause I make a feminist statement by the by Gillis, Rabin and Tseng, among others, .-.act that I have a career, a company. a -~hool, a husband and children".

~ Y should women have to deal with u:omen's issues. We should be making dances about 'people' issues". Behind evecy Both Margie Gillis (Montreal) and Paula Ravitz (Toronto) point out other ramifica­ :.:ons of women and their choreography. successful dancer For G illis, the works force the audience to .:-edefine its stereotypical views of women. Contemporary dance has shattered the st ds a teacher ::::iyth of the "ideal" long-legged slender :,allerina. Women of all shapes and sizes are .-ound on the stage and this in itself is with fresh ideas. berating. Ravitz stresses the fact that most 'emale choreographers do not think of their !leagues as men or women but as dancers. The National Ballet School Thus, audiences are exposed to an equality nown in the outside world and the usual Annual Tuachers' Course s:ereotypes of gender do not exist. As Paula oss says: "I have three daughters and June 20 -29, 1984. :.. erefore, I have a stake in what happens to -..·om en. Dance has allowed me the right to An intensive 10 day refresher seminar. :nake mistakes which has led to my personal growth. I have been able to attempt Guest Tuachers :rnythi ng within an understanding of my Margaret Saul, Joysanne Sidimus, Patricia Bradshaw. mitations. This is what I would like for my Application deadline June 8, 1984. ~ughters". Maria Formolo believes that a man creator can become a beacon for For information contact the Registrar, o men everywhere, affirming feminine The National Ballet School, 105 Maitland Street, • wer through the arts, but perhaps Denise f, jiwara best sums up this philosophy. "We Toronto, Ontario M4 Y 1E4. (416) 964-3780. inspire women through our work, not ___ J 18 DANCE IN CANADA

CANADA: Winnipeg, Manitoba June 3- 30 USA N-East: Meadville, PA July 1- 28 USA N-West: Port Townsend, WA July 29-Aug. 25 For further information & a detailed brochure, contact: CANADA: BESID, C/o Contemporary Dancers, 2nd Floor, 444 River Ave., Winnipeg, Manitoba, CANADA R3LOC7 • (204) 452-1239 USA N-EAST: Jan Hyatt, Box 182, Allegheny College, Meadville, PA 16335 (814) 724-3369 USA N-WEST: Mark Hamby, Centrum Foundation, P.O. Box 1158, Port Townsend, WA 98368 (206) 385-3102 DANCE IN CANADA 19 In the Spotlight: regory Osborne

By Kevin Singen

He says he's not concerned to be a star but -year-old National Ballet soloist Gregory Osborne is already a star in the eyes of his growing body of Canadian admirers. He nly joined the National last August but Osborne has already established himself as e of the company's leading lights and _ "ghtest hopes. When the lean, blond­ ~..aired dancer is on stage you get the distinct ;;npression the whole house could burn .:own and he'd still be out there doing his ::amnedest to save the show. Of course, it does no harm to have looks ·nat kill. Osborne probably breaks more ::iearts in an average week than regular ortals can hope to touch in a lifetime. It's a:so an immeasurable advantage to have a _ recision-tooled technique. The Louisville :1arive whips off steps with disarming spontaneity, making the mechanics of assical dance look like a thoroughly :iatural form of locomotion. Added to all • · , Osborne has that magic quality called srage presence - a personality that radiates nfidence and enthusiasm and allows you :o relax and enjoy the dancing. From the National Ballet's point of view, getting Osborne represents a major coup. ~ot so long ago the media was full of news about dancers "defecting" to American Ballet Theatre where, so it was implied, there were greater opportunities for per­ .>Cmal development. Osborne chose the reverse route. He said goodbye to New York and ABT after almost a decade's ·ojourn in order to be part of the National. Theoretically he's just taken a leave-of­ absence from ABT but he's quick to add :hat he plans to be around "for an extended ;:x:riod". Osborne doesn't want to be too specific about his reasons for leaving the United States' premier classical repertory company. It hel ped to make him the dancer he is and :here's clearly a strong loyalty to the company. At the same time, however, Osborne makes it plain he was not happy :ith the direction ABT has taken in recent _,ears - a direction that has generated a great deal of controversy over Mikhail Baryshnikov's leadership. And then there ~as Erik Bruhn. Last spring, not long before taking up his Gregory Osborne in a studio portrait as the Nutcracker Prince. 20 DANCE IN CANADA new post as the National's artistic director, Bruhn was busily putting the finishing touches to a new production of La Sylphide for ABT. Osborne appeared in the two lead roles of James and Gum. The experience of working with the great Danish-born dancer convinced Osborne he should come to Toronto. "Erik is so wonderful to work with. You know what he wants and he helps you achieve it". Osborne freely admits that he misses New York - "I loved that city from the moment I stepped into it" - but he's already settled into an elegant condominium apartment right on Toronto's waterfront and says he likes his new home the more he gets to know it. At work, the settling-in process has not been entirely smooth. Osborne is ambitious, not for status but for roles. So far, they've come more slowly than he'd like. But he's used the opportunities he's had to prove his value to the company. It cannot be long before the National honours a tacit agreement to promote Osborne to principal. Gregory Osborne as Prince Siegfreid, partnering Gizella Witkowsky in her National Ballet debut as Odette/Odile. While Osborne excels in contemporary ballet where pure movement takes pre­ in his thirtieth year. He dresses stylishly but graduated from Texas Christian University cedence over dramatic projection he is seemingly with effort to impress. People and took electives in economics, "just in equally at home in the National's popular notice him in the street but, if Osborne is case" as Osborne puts it, he should end up story ballets. There's not much any dancer conscious of the attention, he shows no sign in the family business. He also kept up his can do with the role of Nutcracker Prince ofit. dancing, appeared with the Fort Worth but last Christmas Osborne did his best to Civic Ballet and then went to New York to He's probably told the story of his inject some personality into a cartoon­ the School of American Ballet. That famous toboggan accident in a hundred interviews cutout character. Both as the Prince and as institution is most often thought of as an but Osborne patiently rehearses the events Master of Ceremonies, Osborne revealed an entry to New York City Ballet but the Fort which led him to his current career. He ability to possess the stage, dancing up a Worth company had connections with remembers the date when it happened, 23 storm and infecting all those around him ABT and it was that troupe's apprentice December 1963, scarcely three weeks after with some of his own exuberance. Ballet Repertory company that Osborne his ninth birthday. Both legs were broken, In the fall he had taken almost everyone finally joined. Not for long, however. just above the ankles, identical breaks. by surprise as he moved into the role of Within five months he'd moved to ABT Osborne's mother, whom he fondly refers to Basilio in the National's gaudy Don Quixote itself, in 1975. Baryshnikov gave Osborne as "a guiding light", had tap-danced as a by dyeing his hair black! By the company's the dynamic Harlequin solo in his Nut­ child. She and the physiotherapist assigned winter hometown season he was back to cracker and choreographer Glen Tetley to supervise Osborne's recovery decided normal, looking almost indecently hand­ chose him for leading roles in Sphinx, dance classes might help. It was the thin end some and aristocratic as Prince Siegfried in Gemini, Voluntaries and Pierrot Lunaire. of the wedge. Greg's father, a Ford dealer Erik Bruhn's production of Swan Lake. Much as Osborne enjoyed these contempor­ with business ambitions for his younger son, Together with Gizella Witkowsky, making a ary ballets he also wanted to dance the was not too happy when what started as a spectacular debut as Odette/Octile, Osborne touchstone classical roles and that, as much therapy became a burning enthusiasm. It drew a roaring ovation from the near sellout as anything else, has led him to Canada and took a few years before he could accept audience gathered to see what the two the National Ballet where he can work on a Osborne's new interest. "Today", says young stars could achieve in one of ballet's daily basis with one of this century's greatest Greg, " my father's almost a balletomane". most critical test situations. The two worked danseur nobles. long and hard to develop a harmonious After classes in tap and jazz, ballet class at Bruhn is probably just the man to add the partnership, even travelling together to New first seemed too structured and slow for final polish to Gregory Osborne's flamboy­ York to work with leading teacher and Osborne. He liked quick results and found ant and occasionally over-energized danc­ coach David Howard. Their first perfor­ the discipline gruelling. But he endured. He ing. He can give him the stage manner and mance encounter, by the lake in Act II, had studied at the prestigious North Carolina natural dignity which makes the true a few unsteady moments but as the ballet School of the Arts and, after the family's classical dancer stand out among his progressed the couple sank deeper and move away from Kentucky to California, colleagues. Osborne knows that if it doesn't deeper into their roles so that the concluding took classes with a leading West Coast happen now it never will and as he moves Act IV pas de deux became electric in its teacher, Lila Zali. into what for a dancer are the prime years intensity and passion. Greg's parents still insisted he have a he's ready to grasp every opportunity and Offstage, Gregory Osborne is a cheery, college education. At age 16 he was still only make it work for him. Being a star unaffected individual with a natural sense of 4 feet, 11 inches tall - hardly enough for a according to Osborne is one thing. Becom­ humour and boyish looks that belie a man would-be ballet dancer. He attended and ing a true artist is a whole other challenge. DANCE IN CANADA 21 New Force on the Calgary Dance Scene Denise Clarke and Anne Flynn

By Anne Georg

Being part of a young, exciting cultural But to balance that statement she says, alternative nightspot, Ten Foot Henry's, ::ommunity contains both blessings and "I'm grateful to be involved in a small scene often accompanying poetry readings. 1tfalls for those at its core. The Calgary that's so rich". She cites support and In their last performance, "Nice ;:iartnership of Denise Clarke and Anne feedback that the small artistic community Works ... If you Can Get It", December, Flynn say they are cautious about becoming in Calgary provides. 1983, Clarke and Flynn reached into the g fish in a small pond. As dancers, Clarke and Flynn have immersed them­ dance community to involve 12 independent .:horeographers and university and studio selves in that community by including other dancers. By including the others they offered nstructors they enjoy the freedom of artists in their productions and becoming local dancers a chance to work together and orking with a minimum of the influence involved in projects other than their own. In an opportunity to try a different approach and competition found in larger centres, but March of last year Clarke and puppeteer from that to which they are accustomed. And ust remind themselves of the larger pond Ronnie Burkett collaborated in a concert Clarke was able to expand her choreographic ::id apply global standards to their work. entitled 'Together Again ... For the First scope in what she describes as her "epic", But One side of local celebrity they vow to Time'. In It Takes .. . One, Two. Flynn danced Could We Be Heras?, a dance influenced by -jdestep is the expectations of people in the to a lecture delivered by her philosophy New York choreographer Twyla Tharp's dance community and of their audiences. "I professor Alison Wyley; the same concert 1982 production The Catherine Wheel. mow I'm influencing people", Clarke says. featured the local rock band the Rip Heras begins with its 14 dancers lying on ··rm proud but leery; I don't want to be Chords. In July, 1983, Clarke acted in a the stage chanting "evolution" with increas­ :,esponsible for shaping Calgary's dance local theatre troupe, One Yellow Rabbit's ing volume and coherence. After experi­ -cene. I'd rather just work and not have production Juggler On a Drum and both she ments with balance they slowly evolve to anyone expect that of me". and Flynn frequently improvise at Calgary's mobility and face corruption in the form of a black-clad Rajac, the epitome of evil. Power struggles ensue among the dancers at Rajac's encouragement but in characteristic Clarke-style optimism the dancers evolve to find companionship, compassion and cele­ bration among themselves. Much of the choreography in the 45-minute dance is derived from pedestrian movement, such as running and climbing on ladders, up ropes, on swings, stairways and balustrades, the latter two being among the audience. Several sequences in Heras are improvised. Some fans of Clarke's earlier work complain that the dance relies too heavily on improvisation and lacks structure and editing. Clarke acknowled·ges that her newest work is not as popular or as successful as earlier efforts but insists she cannot continue making the same dances simply to please audiences. She and Flynn agree that the freedom to work in the direction of choice, a direction that reflects the changes in their lives, is necessary even if not always successful. That any movement can be used in working is a given for these choreographers, and both draw on their diverse backgrounds for source material. Flynn's training is predominantly modern while Clarke's is in classical and jazz. They have worked at developing broad movement repertoires as nne Flynn (left) and Denise Clarke in Nice Works . .. If You Can Get It. dancers driven by a curiousity about what it

"The reality ofdance is its truth to our inner life. Therein lies its power to move and communicate experience. The reality ofdance can be brought into focus - that is into the realm ofhuman values-by , simple, c;l.irect, objective means:• - Martha Graham 24 DANCE IN CANADA

feels like to move in different ways and an even though dance is offered only as a sabbatical while Clarke continues to line up interest in movement as symbol. minor. According to Flynn if there is going performances for herself, one to be staged in Clarke says that by deriving movement to be a professional dance community in Victoria this spring in collaboration with from all dance/movement idioms she and Calgary it will probably grow from the two dancers, Linda Raino and Constantine Flynn free themselves from the limitations dance program there. The university has Darling with composer Ernie Manera. imposed by any one form because imposing always been supportive of Clarke and The Clarke/Flynn partnership is built on limitations is something that these women Flynn, sponsoring their productions and mutual respect and compatibility. Come are not interested in. They want to make encouraging their development as production time there are not conscious dances that are relevant to human expe­ artist/teachers. decisions of the role either will play. "We rience, and that means using movement Their teaching salaries provide them with always manage to settle into our roles which is meaningful in the context of any financial security and allow them freedom without ever discussing it", says Clarke. The piece. to produce their concerts, saved from the quality of the Clarke/Flynn productions Frustrations with the limitations imposed bitterness imposed by the "starving artist proves the success of this formula. by classical dancing led Clarke to jazz at age syndrome". Their comfort is reflected in Their work is influenced by one another's 19 after studying ballet since age three. their work. Flynn explains, " I feel fortunate; interests such as Flynn's philosophy studies During that time she studied with the we can afford to be cheerful because we're and Clarke's fascination with vernacular Alberta Ballet Company and the Royal not suffering in any way. Our dances are not movement. While they must accept the Winnipeg Ballet. After a brief time in a struggle and audiences respond to that". limitations Calgary imposes, such as a lack Montreal, with Les Ballet Jazz, Clarke Their non-professional status, however, of knowledgeable dance criticism and the discovered the joys of jazz dancing, became has its drawbacks. Despite the amount of shortage of male dancers, at the same time an avid social dancer and in 1979 went on to work they have done Clarke and Flynn are they enjoy their city and do not acknowl­ perform solo in Calgary. Three years ago still relatively unknown outside Calgary. edge fears of provincialism. According to Clarke teamed up with Flynn when she Their teaching schedules don't permit a lot Willis it is partially because of Calgary's filled in for a dancer who suddenly dropped of travel although last year they managed to isolation and lack of outside influence that out of Flynn's student production. Shortly perform at the Dance in Canada Confer­ Clarke and Flynn have found their unique thereafter Clarke began teaching jazz and ence in Saskatoon, the Edmonton Dance and fresh style of dance. ballet at the university of Calgary. Now, at Extravaganza, The Women in the Arts Their popularity among students, 26, she says jazz is her strenght as a dancer Festival in Edmonton and for the Canadian dancers, and dance appreciators in Calgary although she does not consider herself just a Association of Health, Physical Education is a positive reflection of the kind of work jazz dancer. and Recreation in Toronto. these women choose to do. Unlike Clarke, Flynn often danced This year Flynn is off on a six-month socially during her youth in Brooklyn, but did not begin formal dance training until she was 19 years old, encouraged by a university instructor. She studied at the Brockport State University of New York and under Merce Cunningham and Erick Hawkins. Flynn, 28, professes to be a genuine product of university dance pro­ grams because she did most of her training there and is now completing a masters degree in movement at Wesleyan University while teaching modern dance at U of C. Flynn spent her first years as an instructor in Calgary finding her own style of dance away from the influences of New York. She says that through teaching she learns as much about dance as do the students. According to Clarke, Flynn has been instrumental in introducing a breath of fresh air to dance in Calgary. She is noted for her ability to relate dance to the lives of her students who are left with a desire to learn dance in all its forms, Clarke says. Although Clarke and Flynn are leery of the responsibilities of their influence, according to U of C jazz instructor Vicki Adams Willis, collaborator in Clarke/Flynn productions, they have a definite influence on Calgary dancers. "Between them they teach many students and a lot of young dancers are in their audiences", she says. With 12 faculty members the U of C is a focal point of Calgary's dance community Clarke (left) and Flynn in Nice Works . DANCE IN CANADA 25

ADancer's Summer School July 2-29, 1984

Afour week residential programme Brian Scott, LISTD, Artistic Director

Ballet, Cecchetti Syllabus, pointe, repertoire, jazz, moderne character and jazz repertoire

Write or phone for information: Quinte P.O . Box 534 Dance m Belleville, Ontario K8N 5B2 Centre (613) 962-9938

Scholarships available for male students

DftCKSTftGl ca NowOpen­ BAYVIE. TOWNE & COUNTRYE SQUARE 70 BLOOR(AT BAYVIEW VILLAGE CENTRE THE EATON CEN

Fashion and dance Footwear Bodywear Legwear& Swimwear 26 DANCE IN CANADA Enseigner avec souplesse: Ou l'art de s'adapter a sa classe par Madeleine Lord

Un nombre impressionnant de classes de improvisation libre et structuree, l'idee de procurer le plaisir de danser. danse sont donnees chaque jour a travers le composition, interpretation et appreciation Toutefois, s'adonner a !'interpretation avec pays dans des contextes aussi varies que - pour adapter le contenu et le style de un plaisir renouvele suppose !'acquisition l'ecole publique (primaire et secondaire), le l'enseignement a la vocation particuliere de parallele d'une facilite d'execution de niveau studio ou l'ecole privee, le centre de loisirs, l'etablissement ou ii est dispense? croissant et une comprehension le centre de conditionnement physique ou Chaque forme de travail en danse porte progressivement plus profonde de !'art de la !'institution de formation professionnelle. sur des apprentissages distincts contribuant danse. Considerant la vocation fort differente de a leur fa9on au developpement de la Un programme de danse recreative a chacun de ces types d'etablissement, la capacite d'expression en mouvement, et done avantage a aborder plusieurs formes grande diversite de leur clientele respective, implique le recours a des strategies de travail tout en privilegiant la nature de la danse et son riche eventail d'enseignement particulieres. Un choix !'interpretation de fa;;;on particuliere. d'experiences d'apprentissage, ii est judicieux d'experiences en danse doublees Le climat d'une classe de danse recreative etonnant de constater que relativement peu d'un style d'enseignement adapte aux exprimera le plaisir, la bonne humeur et la de differences fondamentales existent dans apprentissages en cause et a la vocation de cordialite. Tout en creant un tel climat de le contenu et le style d'enseignement de l'etablissement representent de meilleurs travail, le professeur en milieu recreatif aura to u tes ces classes. gages de qualite d'enseignement qu'une entre autre avantage a: copie maladroite de l'enseignement - favoriser un maximum de temps Rigidite de l'enseignement professionnel. d'engagement moteur pour !es participants A peu d'exceptions pres, ii s'agit de Par cet article !'auteur desire mettre en - valoriser une bonne maitrise technique classes "techniques" se deroulant selon le evidence quelques caracteristiques sans en faire une fin schema suivant: un travail a la barre ou au essentielles de contenus et de strategies - valoriser le progres personnel sol, un centre, des diagonales et un d'enseignement qu'elle considere - fournir beaucoup d'encouragements enchainement choregraphique. La appropriees aux milieux recreatifs, educatifs - guider adequatement le deroulement de reproduction par !es eleves de mouvements et de promotion de la sante. chaque activite aussi fideles que possibles aux canons Danser pour le plaisir - favoriser !es echanges entre !es esthetiques de la forme de danse en cause est La recreation est souvent consideree participants le but majeur recherche, ce qui suscite un comme une saine utilisation du loisir lequel - respecter leurs gouts musicaux et enseignement directif ou le participant est trouve son sens dans le plaisir et la joie de kinesthesiques tout en Jes exposant a du souvent oublie au profit de la technique. !'action. Pour servir une fonction recreative, materiel nouveau et de qualite. La trop frequente apparition de cette une activite doit procurer un plaisir L'enseignement a vocation educative le;;;on type nous porte a croire que la nature immediat au participant ce qui engendre meme de la danse aussi bien que le modele generalement un sentiment de satisfaction et Que ce soit dans le cadre des programmes d'enseignement professionnel sont souvent de realisation de soi. d'education physique ou artistique, la danse mal compris et que ce dernier est applique Dans cet ordre d'idee, on peut dire est de plus en plus presente a l'ecole sans discernement dans Jes autres secteurs. qu'amener Jes gens a experimenter le plaisir publique. Elle yest cependant dans une On y oublie que l'enseignement doit alors de danser dans la forme de leur choix optique bien particuliere, soit celle de etre assujetti a des preoccupations dictees represente un ingredient essentiel de contribuer au plein epanouissement de la par la fonction propre de chaque type l'enseignement de la danse dans !es services personne. Veritable force unificatrice de la d'etablissements, soit procurer le plaisir de de loisirs municipaux, les centres de loisirs personnalite, la danse est la seule discipline danser (recreation), faciliter !'expression ou certaines classes de studios ou ecoles scolaire qui permette !'integration de la creatrice (education) ou ameliorer la privees. Les participants ne cherchent pas a pensee, de l'affectivite et de la motricite dans condition physique des participants atteindre une parfaite maitrise du une expression creatrice individuelle. Cette (promotion de la sante). vocabulaire technique. Ils ont certes le gout contribution fondamentale unique, qui se Si aucun autre secteur que celui de la d'apprendre a se mouvoir avec aisance et complete de plusieurs autres qui Jui sont formation professionnelle n'est soumis aux efficacite, mais plus encore, c'est l'envie de sous-jacentes (prise de conscience et exigences de la scene, pourquoi attacher tant danser qui les a amene a s'inscrire, et c'est affirmation de soi, stimulation du potentiel d'importance a la technique dans les autres dans ce but qu'ils sont venus a la danse. creatif, developpement social, secteurs? Pourquoi ne presenter la danse Leur procurer ce plaisir constitue la comprehension de sa culture et de celle que dans la rigueur de l'entrainement mission de l'enseignant en milieu de loisirs. d'autres nations), constitue la raison d'etre professionnel? Pourquoi ne pas davantage Diverses strategies peuvent faciliter l'atteinte de la danse a l'ecole. L'enseignement yest exploiter toutes !es formes de travail de ce but. Ainsi, !'interpretation de danses approprie dans la mesure ou ii facilite la possibles - apprentissage technique, de contenu et de styles varies adaptee aux realisation de cette finalite. apprentissage d'enchainements, capacites des participants est inherente a L'atteinte de ['expression creatrice n'est DANCE IN CANADA 27 pas automatique. Elle suppose le concentration sur Jes activites proposees. monopolises par des personnes peu en developpement d'une capacite d'expression Plusieurs types de strategies pedagogiques mesure d'offrir des experiences satisfaisantes artistique authentique, laquelle requiert peuvent contribuer a la creation de a la fois sur le plan de !'expression du : acquisition de connaissances et d'habiletes conditions d'apprentissage coherentes avec mouvement et du developpement de mouvement comme moyen d'expression, une demarche educative. Les classes organique. de meme que de frequentes occasions de excedant souvent 25 etudiants necessitent La capacite de creer et de proposer des s'adonner a la creation de danses une organisation du travail qui est aussi enchainements suscitant unreel travail en personnelles. Dans cette orientation, la importante que la nature des taches aerobie - enchainements qui soient danse a l'ecole est approchee comme un art proposees. Des strategies particulierement originaux, dansants et faciles a executer et a de creation. C'est ce qui Jui vaut souvent importantes dans ce secteur seront celles memoriser - est un gage de succes dans ce appellation de "danse creative". qui, entre autres: secteur. Cela suppose la connaissance de Un programme de danse scolaire - suscitent rapidement des comportements principes de conditionnement physique, une comporte habituellement un ensemble d'ecoute a des moments critiques de la grande habilete a creer des danses a la integre d'experiences suscitant tour a tour le classe portee de tous et la maitrise de capacites developpement de la maitrise corporelle, la - favorisent un maximum de temps d'intervention favorisant un deroulement capacite d'inventer et de varier des d'engagement moteur pour Jes eleves efficace des seances. Bien qu'il soit difficile mouvements et de l'habilete a improviser, - assurent une organisation et un de parler d'expression artistique en danse composer, interpreter et apprecier le deroulement efficace du travail aerobique, on peut parler d'expression mouvement danse. II va sans dire que dans - valorisent le progres personnel spontanee dans !'interpretation de danses a le cadre d'un programme aussi vaste, le - valorisent la creativite et l'authenticite caracteres varies d'inspiration "boogie niveau de maitrise technique de l'eleve est - valorisent la comprehension des woogie", folklorique, rock, medievale ou d'importance secondaire. Ce qui importe, apprentissages en cause autre. La competence du professionnel de la c'est de faire vivre la demarche de creation - respectent les gouts musicaux et danse est tres importante dans ce secteur et et de fournir aux eleves des moyens de s'y kinesthesiques des participants tout en !es est susceptible d'y etre un gage efficace de adonner avec un plaisir renouvele. exposant a du materiel nouveau et de promotion de la danse dans notre societe. La danse a l'ecole ne consiste pas a faire qualite L'interpretation de danses de styles varies apprendre des danses toutes faites mais - assurent un climat de travail positif. sollicitant la capacite aerobique a divers plutot de permettre auxjeunes decreer leurs La promotion de la sante et du degres d'intensite constitue le coeur d'un propres danses. On ne vise pas non plus a programme de danse en aerobie. A ces bien-etre physique l'apprentissage d'un vocabulaire technique activites de base peuvent se joindre d'autres existant mais plutot au developpement, par Lorsqu'elle fait appel a l'enchainement formes de travail n'appartenant pas haque eleve, de son propre vocabulaire de d'actions ou de mouvement sollicitant necessairement a la danse. mouvement. L'acquisition de facilites a se genereusement Jes plans musculaire et L'exploitation maximale du temps rnouvoir efficacement et a manipuler Jes organique, la danse se revele un excellent disponible pour susciter un bon travail composantes du mouvement pour creer et moyen de mise en forme physique. organique et musculaire represente un varier des mouvements a l'infini Jui Nombreux sont Jes etablissements de facteur clef d'efficacite auquel s'ajoute le permettront d'atteindre ce but. conditionnement physique et autres types divertissement. d'etablissement qui offrent des programmes La creation et !'interpretation de danses La creation d'une ambiance de plaisir et de danse dans ce but. Kinorythmie, refletant la personnalite propre des eleves de cordialite representent done des facteurs dancexercice, danse aerobique etc ... voila constituent Jes activites ou se joue la non negligeables. Des strategies deja autant de tentatives d'utilisation de la danse fonction educative. C'est la, en effet, que se identifiees en milieu recreatif s'appliquent comme activite a dominante aerobique. Le manifeste !'expression artistique tout aussi bien aux classes de danse en plaisir renouvele d'executer et de repeter des authentique. La composition et aerobie. Des strategies plus specifiques mouvements danses varies issus du !'interpretation tiennent done des places seront celles qui entre autres: vocabulaire nature! de l'humain se revele privilegiees dans un programme de danse - permettent de reduire l'investissement de une excellente motivation a perseverer dans scolaire. Ces formes de travail prendront temps consacre a l'apprentissage des danses !'effort tout en offrant au participant sens dans la mesure ou !es eleves vivront - stimulent et encouragent la poursuite de !'occasion de s'exprimer dans une foule de parallelement des experiences leur !'effort styles de mouvement. Encore faut-il, permettant de developper leurs capacites - valorisent !'expression authentique et cependant, qu'il soit reellement question de d'interpretes et de createurs. !'engagement total dans l'activite. danse. Les classes de danse en aerobie ne II n'y a pas en soi de bon ou de mauvais Des formes de travail susceptibles suivent habituellement pas le schema type enseignement. Tout est fonction des buts d'apporter des contributions a cet egard presente au debut de cet article. Les poursuivis. L'enseignement de qualite est sont l'apprentissage de fondements problemes de ce secteur sont d'avantages celui qui permet de Jes atteindre le plus techniques et d'enchainements de meme que relies au fait qu'on y parle abondamment de efficacement possible. Cet article a tente 'improvisation structuree et libre. A ceci danse sans meme y presenter de d'illustrer comment le contenu et le style de s'ajoute enfin !'appreciation des danses de "mouvement danse". !'intervention pedagogique en danse ses pairs et parfois aussi de cell es d' artistes Les professionnels de la danse ont des peuvent etre modifies pour mieux servir Jes professionnels contemporains ou passes. reactions souvent ambigues face ace causes specifiques de trois importants C'est en verbalisant ses reactions a secteur. On constate une tendance a le secteurs d'intervention. Les professeurs ont differentes oeuvres que l'enfant developpe considerer comme un parent pauvre. C'est tout avantage a user leurs competences et ses capacites d'appreciateur et approfondit pourtant un secteur par le biais duquel une leur creativite pour adapter leur sa comprehension de !'art de la danse. part importante de la population peut etre enseignement dont la qualite ne pourra que L'atmosphere d'une classe de danse appelee a faire ses premiers pas de danse. II mieux s'en porter. educative refletera le respect mutuel entre offre d'autre part actuellement beaucoup etudiants et enseignant, la structure et la d'emplois, lesquels sont souvent 28 DANCE IN CANADA

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In Review

ational Ballet of Canada pointed by Bruhn's restraint, down, but two viewings were work, much admired by Gross­ 'Keefe Centre which misunderstands Bruhn, of not quite enough to explain man's modern dance audience. -:-oronto course, and overlooks the why. Nor were they enough to It's appearance in the National's . ·ovember 1983 and advantages of Here We Come as pick up much about McFall's mixed winter program was to February 1984 a program opener. choreography, or Shakers for test the company's ability to The National's men are that matter. It's the kind of stuff handle modern dance. Could the Yes, the National Ballet is suc­ stronger than at any time in the that one might call neo­ company hold its weight to the =sfully making the transition company's history, thanks large­ Balanchine; but with the real floor? The opening runs sug­ ··:-om mother Grant to father ly to Grant's keen eye and stuff, Serenade, on the program, gested two answers; some Bruhn. All signs indicate that encouragement. The women, on one is inclined to rudeness. dancers could, while others kept · '1e dancers welcome the chall­ the other hand, have been Nonetheless, one must admit lifting their knees. Would a ~nge; but this is the honeymoon hanging in for some time, that McFall's adagio movement national audience accept Krsysz­ ;:ieriod and the results cannot thanks largely to the company's - attitudes, arabesques: tof Penderecki's Threnody - to ::cally be judged for another year inability to identify another stretchy stuff mostly - shows the victims ofHiroshima, orches­ :- two. Bruhn's aim, while ballerina. There are several aspi­ off the dancers wonderfully, but trated for strings, sirens, and ::ttaining the company's classical rants - Gizella Witkowsky and it's choreography the National bomb sound effects? These and e, is to expand the repertoire Sabina Allemann come to mind can perform in its sleep. other questions are still unans­ ~.- exposing his dancers and his - but it's Yoko !chino who's More challenging was Endan­ wered. Firstnighters were muted :t diences to new influences. being fed royal jelly these days. gered Species, made by Gross­ in their response, though at a . lodern dance is one of them. During the winter season she man for his own company in later performance a few "bra­ :\."irh any luck this openness will made her debut as Lise in La 1981, and inspired by Goya's vos" were heard. The dancers, in encourage creativity and reveal, Fi/le Mal Gardee; later she Disasters of War, as well as by Mary Kerr's rags, worked hard _; long last, a distinctive tackled the ballerina role in the expressionist paintings of - David Nixon, Yolande . · ational Ballet style. Etudes. Here her speed and Kathe Kallwitz and George Auger, Barbara Smith, and This may already lie in the confidence were remarkable, Grosz. It's a short, abrasive Mark Raab particularly so. :ompany itself, in the future though she did not have quite ·orks of Constantin Patsalas. In enough romantic allure for the . ·ovember he presented his shadow dances or the pas de ::: ewest ballet, L'fle inconnue, a deux. Yet she galvanized her l!Sh, romantic piece to Hector colleagues, (though not David Berlioz' equally lush Les nuits Roxander who performed like a :lete. With it the National has a flapping fish) , in a way only real treasure, possibly Patsalas's ballerinas can. Generalship of :~ t masterpiece. It reveals a the Veronica Tennant type she :;ireviously undetected romanti­ seems to have got. Martine - m to which the dancers, Lamy, a youngster in the corps especially the younger ones, de ballet also having her first ::"espond openly and fluently. crack at the role, was more One was so captivated by their successful in its adagio passages. :resh-petalled youthfulness, one The question about !chino is: :ell in love. And that kind of can she dance the classical bjectivity is not a normal repertoire? Until one sees her -eaction to the National. Giselle and Odette/Odile, the Kesponsibility maybe - some­ fight for royal jelly will continue. :hing United Church and civic Meanwhile audiences can - but love never. enjoy the new ballets. That they One hopes to seeL'i/e have not all been successful goes .connue again, especially if without saying, for making ?atsalas agrees to print Gauth­ ballets is a risky business. From _er's poems in the program, as the winter season, Components, · e hopes to reacquaint oneself by John McFall, seems to have irh Here We Come. This brought audiences the most odest piece to some umpity­ pleasure, Danny Grossman's :_m by Morton Gould, dressed Endangered Species the least. , unfortunate sailor suits, pres­ Components has an attractive ents 12 of the men as the score, Shaker Loops, in the .ompany never has before: minimalist manner by John ;:;roud, authoritative, and witty. Adams, and a series of shiny, - me people, expecting lots of silvery drops by Rouben Ter­ Barbara Smith and Owen Montague in Constantin Patsalas's ne w ,.gh-flying tricks, were disap- Arutunian. These move up and ballet, L'ile inconnue. 30 DANCE IN CANADA

Canada's Royal Winnipeg Ballet Arnold Spohr, Artistic Director "Their cable address is CANDANCE. And can they ever!" Dance in Canada Conference June 1984 Toronto WINDSOR STAR Dance in Canada Conference June 1984 Toronto Dance in Canada Conference June 1984 Toronto Dance in Canada r - -lune 1984 Toronto Dance in Garv '

See the Royal Winnipeg Ballers special brand of captivating dance in theatres across Eastern Canada this spring! Conference/'84 From classical to contemporary, from humour to drama, the dancers of the Royal Winnipeg Ballet bring you the very best in dance entertainment ... June 26 - July 1 Spring 1984 Tour (Eastern Canada) March 16, 17, 18 TORONTO, Ontario O'Keefe Centre March 19, 20* WINDSOR Ontario The 1984 Dance in Canada Conference, Cleary Auditorium June 26 to July 1, will offer delegates an March 21 LONDON, Ontario University of Western Ontario extravagant array of events and March 23 EDMUNDSTON, New Brunswick activities. Cite des Jeunes A.M. Sormany March 25, 26, 27* ST JOHN'S, Newfoundland The Arts & Culture Centre Coinciding with Toronto's March 29* ST. JOHN, New Brunswick sesquicentennial, Ontario's bicentennial St. John High School Auditorium March 30, 31 * FREDERICTON, New Brunswick and the Toronto International Festival of The Playhouse Music and Dance, the Conference will April 2* SACKVILLE. New Brunswick Mount Allison University present performances, classes, April 4, 5, 6, 7* HALIFAX, Nova Scotia workshops, seminars and Rebecca Cohen Auditorium April 17* BARRIE, Ontario environmental events. Barrie Collegiate Auditorium April 18, 19* KINGSTON, Ontario For Conference information call Grand Theatre-Kingston University (416) 921-5169 or write to: April 21 * BELLEVILLE, Ontario Belleville Cent.ennial School Auditorium Dance in Canada Conference '84 April 23, 24, 25, 26* OTTAWA. Ontario National Arts Centre 38 Charles Street East GISELLE Toronto, Ontario M4Y 1T1 The Dance in Canada Association is grateful to the Spring New York Season Government of Canada, Department of April 10-15 NEW YORK, New York Communications and the Canada Council; the Brooklyn Academy of Music Province of Ontario through the Ministry of April 10- 7 p.m.,April 14- 8 p.m. Mixed repertoire Citizenship and Culture and the Ontario Arts April 11, 12, 13- 8 p.m., April 14- 2 p.m. GISELLE Council; the Municipality of Metro Toronto; the City of Toronto; du Maurier Council for the Performing *These performances sponsored by ,,aiiiJ:IJlaffliff Arts and the Samuel and Saidye Bronfman Canada·s Royal Wlnni1,eg Ballet, 289 Portage Avenue, Foundation for their generous support of the Dance Winnipeg, Manitoba R3B 284 (204) 956-0183 in Canada Conference. Cable: Ci\NDANCE DANCE IN CANADA 31

But, let it be understood, the Nova Dance Theatre oblems with Endangered Spe­ James Dunn Theatre aes are not wholly with the Dalhousie Arts Centre :mdience and the dancers. Des­ Halifax ·1e its reputation, it is, for such 26-28 January, 1984 a short work, surprisingly repeti- ,·e, and there is nothing quite Discerning direction and devel­ ike the width of the O'Keefe for opment from Nova Dance Thea­ ~evealing boredom in repetition. tre's three-year history is a· ..\n audience will instinctively difficult task. Difficult too is ask, "so what?". It may be that finding a point of view in a ·he work will look better after a repertoire characterized by :1lil of performances, or on a immense variety in subject mat­ ·mailer stage. Certainly it is not ter and style. Artistic director proof that the National has Jeanne Robinson is no help here co me to grips with modern either as the body of her work dance. contains themes from the cosmic Serenade, the first item on the to the comic, and is wrought program, was not a happy from elements as diverse as revival. Joysanne Sidimus, who mime, minimalism, jazz and supervised its staging, has punk. The beautiful memory of allowed Balanchine's early last year's winter show, where a American work Serenade to delicate balance between diver­ become "dramatic", Veronica sity and consistency was Tennant, for example, dances achieved, served only to unders­ the ballet as a gloss on Giselle core the fact that this year's and on the vision scene in The January concert offered few Sleeping Beauty. Balanchine cer­ connecting threads. With power­ ainly did not intend this. He ful works already in its reper­ was more interested in Tchai­ toire, Nova Dance Theatre must iwwsky's music. But the wrestle the beast of unpredicta­ . ational has always danced ble quality to the ground. Balanchine as if his ballets had Part of the problem may lie in stories, and this is an understan­ presenting all new works each dable mistake given the extent of season - a risky business. Why story ballets in its repertoire. not include one or two works of Louise Hoyt and Cliff LeJeune in Jeanne Robinson's Moving Right :'viost of the women lack the proven quality? Other compan­ Along. speed one is accustomed to see ies do, and their audiences enjoy from the Balanchine-founded them as old friends. Another ~ ew York City Ballet. Several of The funereal lighting and cos­ dream sequences, but its seven advantage to reviving dances is them look fat. One wonders tumes made it difficult to appre­ segments appear as under­ in giving choreographers a what will happen to Symphony hend that the folk dance was in developed and unrelated images. chance to refine their work. in C when it enters the rep next fact full-bodied and rousing. In Among the characters who Robinson's Dance For Changing season! Boucher's Entusiasmo, (" A high­ appear in the first section are a Parts, for example, has extraor­ Probably a history of perfor­ speed carnival of colour, form, football player, tap dancer and dinary potential. It could be a mances like Eludes. When it was rythm and joy", says the pro­ green worm. The audience finds masterpiece with more first mounted a few years ago, gram), the dancers again wore them cute, but I'd rather they attention. there were performances where black, but this time a few were clever and their steps, tasks one sweated with every step. Poor production values is turquoise and magenta ribbons and gestures more resonant and One prayed the dancers would another challenge facing the were sewn on. Not my idea of less repetitive. The audience not fall down or disgrace them­ company. in the present concert, festive. laughs and seems to find the selves ... 0 Apollo, please help Ian Pygott's lighting tended to A regular contributor to Nova piece pleasant. If this is chem get through this, and I turn the Dunn Theatre's black Dance Theatre, Boucher has a Boucher's goal, she has achieved promise to take Brian Macdo­ stage area into an endless dark knack for light, humorous con­ it. nald more seriously . .. That is space - a bleak environment tent, and simple, solid struc­ Her Entusiasmo suffers from no longer necessary. While the into which some of the life of the tures. Her choreography and additional problems. Two ~ational does not exactly toss it dances drained. characterizations, however, tend improperly clad people on a off, the company dances with Costumer Sheilagh Hunt to be thin and need much more bare stage would be hard­ assurance and confidence. One dressed the " Folk Dance and detail to flesh them out. I've seen pressed to evoke a carnival .eft the O'Keefe happy and Jig" segment of Francine four of her dances, and in each anywhere; and the non-stop, stimulated about the future. Boucher's Reverie in black leo­ one of them I caught myself "high-speed" percussive score tards and tights. On the dancers' wondering if there was no other requires the extraordinary stam­ LAWRENCE HASKETT heads she put black skull caps purpose to some of the move­ ina and athletic exuberance of a with what looked like a few bent ments than to "fill-up" time company like Les Ballets Afri­ pipe-cleaners sticking out of until the score ran out. cans. What we have is choreo­ them. Not my idea of folksy. Reverie intends to portray graphy which is too slow and 32 DANCE IN CANADA balletic, and bears little relation­ need of focus. I think its Bremen Dance Theatre red shoes of affected as opposed ship to the music or the idea of intention is to satirize the sado­ Ryerson Theatre to real passion; Callas impli­ Mardi Gras. Still, Louise Hoyt's masochistic fads of the Toronto cated in a brutal battle between belly-slide down Cliff LeJ eune's punk/heavy-metal generation, 13-17 December, 1983. masculine and feminine perso­ back was lovely, and it wasn't but it hints at this weakly. A lot nae; Callas as Madama But­ the only nice moment. ohime is spent watching the At the moment when Maria terfly, as La Fanciulla de! West, Awesomely artful and imagin­ backs of the dancers as they Callas first embraced herself as a as Tosca, Elisabetta, Regina ative, and masterfully crafted, change into costumes like black great star, she began her tragic d'lnghilterra, Norma, Violetta, was the premiere of House Pets leather pants, spiked heels and descent to an early death. Callas Carmen; Callas as costume by guest choreographer Jennifer fish net stockings. Anyway, how the artist became confused in her "cut-outs" of her roles; Callas Mascall. The piece digs at your does one caricaturize a world mind with Callas the legend and mythologized and marketed; unconscious to unearth child­ already so bizarre? Only Robin­ with this confusion, the abiding Callas beautified; Callas abused hood memories of innocence son, with her well-honed theatri­ night star of her glorious Muse by her adoring public. Some­ and pain. Five dancers flow cal presence, manages to mimic became the meteor of her times Hoffmann has Callas through complex floor patterns the grotesque facial expressions international fame. It is this played by one dancer, at others in a variety of combinations. of the heavy-metal band Kiss, Callas, victim of the diva­ by two or three; most of the time Densely layered with rich for instance, and make us laugh worshipping world of Grand Callas becomes a concept inter­ images, House Pets requires at the same time. There's a lot of Opera that Reinhild Hoffmann preted by the full company. more than one viewing to couple dancing too. Cliff exposes in her two-and-a-half­ Both men and women imperson­ absorb. Those familiar with LeJeune wraps his neck-tie hour spectacle for the Bremen ate her. The image of long­ Mascall's work would recognize around his partner's throat as if Dance Theatre. Exposes and legged men wearing net the nightmare quality of this to strangle her.Moving Right mourns. Hoffmann's fadeout stockings and black women's piece with its eerie pools oflight, Along looks like a watered down image of a chair-bound Callas undergarments as they manipu­ and anguish seething with vio­ Rocky Horror Picture Show and staring yearningly at an empty late costumes representative of lence. The dance ends with the inadvertently becomes what it swing arcing above and beyond Callas' repertoire mounted on performers alone and trembling. intends to ridicule. her is distinctly sorrowful: here silver reflective board suggests As they stretch their hands out A new addition to the com­ is the end - no hope. the "contribution" of the homo­ to us, we hear the words from an pany is Cliff LeJeune. His To get us to this point, sexual aesthetic to the prima's old rock and roll song, "Tell me dancing is alright, but his pan­ Hoffmann arranges a series of mythological status. that you love me too". Mascall's tomime and acting sizzles. close, even claustrophobic, Visually powerful and intellec­ characters strike me as unloved Attendance was up one third chamber-like scenes that play tually lucid as many of these and unloveable. Richard over last year's - audience­ variations on the destruction-of­ scenes are, almost all of them Robertson's score of old rock wise, a great leap forward for the-goddess theme. All of the reveal the same weakness; the and roll cuts, voices and elec­ Nova Dance Theatre. scenes are enacted on a stage images they offer don't grow. tronic howls is a perfect partner within the stage to the strains of Like the debris - the paper, the for this dance. ALICE FROST famous Callas arias. Hoffmann fabric, the balloons - that Moving Right Along, by Artis­ shows us Callas competing with gradually litters the stage, Hof­ tic Director Jeanne Robinson, is rude latecomers to the opera; fmann's images simply accumu­ a rambling 30-minute piece in Callas tricked into donning the late. She does not explore their

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A subscription­ white sheet of cloth tied apron­ Perhaps more noteworthy several men physically humiliat­ hearted audience that sees cul­ style around the waists of a than Callas as a work of art was ing a frowsy and drunken opera ture in terms of a three-hour dozen dancers, metamorphosing Callas as a target for public diva by padding her leotard with (maybe four counting transpor­ into a white-carpeted nave up outrage - at least in Toronto. party balloons and then aban­ tation time) bi-monthly invest­ which Callas as the veiled virgin In Ottawa and Montreal, the doning her in a heap in the ment. This kind of audience bride proceeds to her sacrifice.) audience reception of the piece middle of the stage as one might should never, of course, stray What Hoffmann does is exploit was mild and enthusiastic a broken and useless playtoy, to outside the range of a Fille Mal an image and its allied idea long respectively. Here it managed to be swept up with garbage. (This Gardee or, to be generous, a past its ability to speak elo­ bring out the very worst in little vignette reminded me of a Tommy. Why is it so? Too much quently to us. Her imagistic audiences, which is to say very, nauseating chapter in Hubert prosperity, too much comfort, :echnique seems often to border very bad indeed. Selby's generally sickening Last too little incentive to expand its on minimalism. Perhaps if she Of course the usual bravos Exit to Brooklyn in which a horizons. Two expatriate Cana­ had been true to North Ameri­ were tossed to the company and young woman is even more dian acquaintances in town at can minimalist strategies, we its director by the two or three horribly disfigured and cast-off different times over the last year might have been less discomfited hundred people who stuck it out by a band of young men who shook their heads in wonder­ by the result, but her use of to the end in the 1,200-seat once desired her.) The despair ment at the "new" Toronto. "La minimalist techniques, particu­ Ryerson Theatre, but even posi­ one experiences when con­ dolce vita has arrived in larly in movement, is over­ tive response on this occasion fronted with such graphically Toronto", one said and then whelmed by her taste for was suspect. As taunts to the hopeless portraits of human tapping his temple appended, extravagant theatricality, part of several hundred people who had behaviour might well justify "Mindless". He might just as the European tradition generally left, many of these bravos were departure - I remember walk­ well have said, "Soulless". ~mo. G~tm\ln NeD­ me11nt to testify to the cu\tura\ ing out of Fassbinder's Veronika The only positive element in Expressionism specifically. This superiority of the bravoers. A Voss for this reason - but most the whole disheartening expe­ coupling leaves us exactly large homosexual contingent, of the objections to these scenes rience called Callas was produc­ nowhere or rather leaves us prominent among the vocally got stuck in the thwarted­ ers Mark Hammond's and Uriel questioning Hoffmann's ability supportive, seemed to be saying expectation gear. For me this Luft's willingness to bring Hoff­ w create resonant imagery. it was willing to worship Hoff­ was best symbolized by the man and her company here in Somewhere in my first expe­ mann as it had Callas. And our outraged and noisy feminist the first place. I hope his rience of this curious marriage air-tight dance community, fas­ across the aisle who kept refer­ subscriber reaction doesn't sour of styles, I wondered if the cinated by other and radically ring to Hoffmann with indigna­ him to the point of abandoning depotentiating effects minimal­ different signs of life, happily tion as "he". Her ignorance of the "Dance"! series altogether ism and theatricalism were hav­ lent their lungs and palms to the who Reinhild Hoffmann was, or, alternatively, push him to fill ing on one another were not celebration; the feeling of solid­ tied to a mindset that probably it with endless ballet-jazz style deliberate, a way of emphasizing arity between the dancers limited all experience to a companies. Bravo to Hammond the impossibility of Callas' own onstage and in the audience question of sexual-politics pro­ and Luft! dual role of artist and star. In played a part, too, in the latter's duced the kind of closed­ the end, however, I decided that response. mindedness (albeit somewhat GRAHAM JACKSON Hoffmann had copped out; she Mostly, however, reaction more sophisticated) that distin­ had shown herself reluctant to to Callas was negative, not to guishes Toronto audiences at the commit herself fully to the say hostile. On top of the best of times. corruscating denunciation of relentless exits (some, many of An audience unwilling to stardom and star-worshipping them deliberately noisy), gig­ educate itself, an audience con­ that she had undertaken and, glings, duckings, mutterings, tent, smug even, with the little it instead of revealing something rustlings, even pacings created knows, an audience that wishes of her deepest feelings about an atmosphere thick with ten­ to avoid adventure, an audience Callas, had settled for shocking sion. Granted some of what that does not respect the rights and alienating her audience. Hoffmann showed us was diffi­ of others to take the risks it will Once, as I said, she pulled an cult to watch. "The Taming" not, an audience in short that image out of her bag of tricks section, for instance, featured has all its expectations firmly in

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Brian Webb Dance Company Grant MacEwan Community College Edmonton 17-18 November, 1983.

Experience is said to be the best teacher. The truth of this adage was borne out all too well by the latest performance of the Brian Webb Dance Company, where by far the best pieces on the pro­ gram were those choreographed by Webb himself and by a long­ standing member of the group, Andrea Rabinovitch. The opening piece, Webb's Apollo, was visually well inte­ grated, with Cherie Moses' sim­ ple, pillar-like hangings achieving a pleasing Greek effect which fitted well with the stark white costumes. Webb in the Brian Webb, Andrea Rabinovitch and Barbara Bonner in The Carp Pool. role of Apollo made a convinc­ ing god but the muses, apart abrupt, and sometimes awk­ any particular abstraction or and "relevant" and to aim from Debra Shantz as Calliope, ward. The overall effect seemed images. Rather, it was simply an primarily to entertain. Perhaps, were lacking in any distinctive to have little to do with the energetic exhibition of the sheer too, it is part of the natural character. Shantz, however, theme of underwater life, and joy of dancing and as such it evolution of the choreographer came through as a rather sensu­ the dance as a whole, based as it worked very well. Even the that he or she begins by being ous muse of poetry - a was on contact improvisation, company members, undoubt­ largely concerned with dance as characterization which seemed tended to turn into a series of edly weary after a long, demand­ a means of communication, at odds with the theme of callisthenics whose connections ing program, seemed to shake even when there is actually little meditation. to each other and to the theme off their fetters and take on a to communicate or when the While credit should be given were hard to detect. Here again, new vigour. With pseudo­ message is so obscure or per­ to Webb for giving some the music was an irritant, African drum music, John sonal that the audience is left obviously inexperienced dancers consisting of lengthy repetitions Madill 's jungle-like lighting, and bewildered and bored. But, as an opportunity to perform as a of the sound of ocean waves, costumes which gave enough with all evolutionary processes, group in Apollo, the lack of punctuated by electronic seagull illusion of the African. Strut time is an important factor, and coordination and technique was squawks. came through with a swagger­ it is a sign of Webb's own an unfortunate contrast to the Debra Shantz' Song ofHome , ing, energetic mixture of the maturation that he has given all strength and technical compe­ despite the very pretentious ethnic and the modern, along of his company members a tence of the company members. program notes on the "path .. . to­ with some neat throw-away chance to begin presenting their Much of the time, the beginner wards self-reformation" com­ touches of humour which gave own ideas, even though the group looked very much under­ municated very little, with most an extra snap to the results at this stage reflect the rehearsed, and having them of the company standing repeat­ performance. inexperience of their creators. alone on stage for the final ing the same arm movements for Perhaps it takes the courage moments of the work made for a several minutes while Shantz born of experience to be able to MURIEL STRINGER very weak ending. herself walked in circles apart cease trying to be "meaningful" Overall, however, Apollo was from the group. one of Webb's more successful These last two pieces, along innovations. Its greatest failing with Webb's The Carp Pool, left LONDON was not in the choreography or one with the disconcerting feel­ Academy of Dance and Theatre Arts in the execution but in the lack ing that titles, music, program of harmony between the music notes, and all the elements of the and all the other elements of the dances themselves could have Mrn1bcr performance. Stravinsky's been mixed and matched in Royal Acade my of Dancing.. jagged dissonances, far from almost any combination and lmrcrial Society. setting a mood of meditation, have had more or Jess the same Canadian Dance Teachers did quite the opposite and fitted impact. Residential F.B A T.D. poorly with the underlying con­ After three slow, obscure Summer School cept of the dance. pieces, it was a relief to be July In Oregon Coast, choreo­ presented with Andrea Rabino­ TR AINING TO PROFESSIO NA L STAN DARD BY HIGHLY graphed by another company vitch's upbeat Strut which made Ql'ALIFIED ST AFF member, Barbara Bonner, many no claim to carrying any pro­ 432 Waterl oo Stree t London. Ont. N6B 2P2 (519) 439 -8961 of the movements were angular, found message or to portraying DANCE IN CANADA 35

Independent Dance Series III often confronted the audience evening on an upbeat. Her part of the dance she effectively Dancers' Studio West with frank stares and-semi­ confidence and distinct move­ used a Japanese mask, intricate Calgary smiles in an effort toward ment were obvious from the Balanese arm movements and 13-14January, 1984. character development; but she moment she clicked on the mime. By simple head posturing didn't go far enough. Rabino­ reading lamp and sat reading a Fulmer brought her mask to life, The third performance in the vitch obviously has theatrical letter in neutral mask and simple invoking winsome expressions, Regional Independent Dance potential and should cast away blouse and pants. She cast the quizzical glances and defiant Series at Dancers' Studio West any reticence she has to produce letter away and began quick and looks while her arms undulated proved generally more exciting clear characterizations sharp foot movements with and her hands rippled. Her as a musical than as a dance successfully. sudden weight changes and mimetic gestures, pulling the event. extensions to a dynamic sound­ On the successful side of the Rabinovitch had the same entrails from within her body, program were local dancer problem in Belle, choreographed track by The Penguin Cafe. were interesting to watch even (Denise Clarke and Edmonton by Debra Shantz, also of the Although the movement was though their intention was unclear. independent and Brian Webb Brian Webb Dance Company. simple, Clarke's impeccable tim­ Dance Company member), The soundtrack for Belle is an ing and unpredictable phrasing When the Hassell music Andrea Rabinovitch. original composition by Brett lent complexity to the dance. stopped and Fulmer unmasked In her dance, Big City '83, Miles and Gary Myers. Sincerely is a work in pro­ herself stating that she had to Rabinovitch used an original It's a good dance for Rabino­ gress, and does not display the follow her heart, the dance fell soundtrack by Edmonton musi­ vitch; it provides an outlet for depth of Clarke's talent, but it apart, and abruptly ended with cians Brett Miles, James Philp her lyrical dance qualities, her easily stood above most of the her jazzily sidestepping off the and Gary Myers, a cacophony theatricality, and her strong other performances as a well stage. thought-out improvisation. Not of sound that brought the 'big modern movement. The surprise A venue such as the Regional city' into DSW. transition in Rabinovitch's per­ so Rene, a poor attempt at Independent Series at DSW is Clad in sneakers, blue jeans sona, a confident belle in a pale improvisation by Calgary an invaluable testing ground for and T-shirt Rabinovitch blue party dress, to an angst­ dancer Mary Jo Fulmer danced first-time performers; it is also depicted a chaotic city scenario ridden woman collapsed on the to Ricki Le Jones' rendition of an important outlet for those by interspersing frenetic move­ floor was, however, not as Don't Walk Away Rene. more experienced. Although the ment with pedestrian walking, effective as it might have been if Another Fulmer dance, Jungle calibre of dancing is inconsist­ and at times, extended her long Rabinovitch was able to fully Prayers, choreographed to shim­ ent, through this series we can body to create moments of use her acting skills. mering electronic music by mod­ look forward to the improve­ clarity. Clarke's dance, Sincerely, ernist Jon Hassell, had in fact ment of regional and local ended the shaky seven-dance Throughout Big City she begun the evening. In the first performance standards. ANNE GEORG

CENTRE FOR THE ARTS SIMON FRASER UNIVERSITY . . . .

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Dance auditions for Fall '84 April 16 and August 30 1O a.m. SFU Theatre mainstage Simon Fraser University Spring only

Major degree program in DANCE Emphasis is on Contemporary dance, performance and composition

For further information on admission contact: Student Services Centre for the Arts, Simon Fraser University Burnaby, B.C. VSA 1S6 (604) 291-3363 36 DANCE IN CANADA American Ballet Theatre War Memorial Opera House San Francisco 21 February-4 March, 1984.

Superstars and fairy-tale ballets are as popular in San Francisco as they are everywhere else, and for its annual visit to that city American Ballet theatre offered the late David Blair's staging of Swan Lake five times and the new Baryshnikov/Anastos Cin­ derella thrice. Eight performan­ ces included four works by Twyla Tharp and a new staging by Natalia Makarova of the edited Petipa dance fragments we have come to know as Paquita, along with a selection of the company's heritage ballets. Mikhail Baryshnikov made only four appearances, dancing exclusively in Tharp trifles to houses which had been sold out shortly after a fort­ night's casting had been announced. The local press Cynthia Harvey as Cinderella and Kevin McKenzie as her prince in American Ballet Theatre's new jubilantly heralded the Tharp­ production to the Prokofiev score. /Baryshnikov combo as ABT's biggest box-office whammy, but I'm inclined to believe that the concentrating more on giving stepsisters are played by men before they are advanced to the company's artistic director their comics the mime equival­ who come across wearily as drag now more essential plane of the could fill a house without ents of one-liner gags. queens, and a mincing, pink­ Petipa ballets. In many ways this Tharp's brilliant vehicles by Santa Loquasto's all-purpose wigged dance master who gets policy is a self-defeating one, for merely appearing on stage for a dull backdrop, a mosaic of them ready for the ball offers ABT audiences are not encour­ modest display of his left tibia. metallic discs and squares, little contrast to his charges. aged to take the company's As a name he continues to carry framed the frequently changed Cynthia Harvey and Kevin crowning achievements more clout than any other living three-dimensional sets in the MacKenzie manage to rise seriously. Last year when dancer and - most likely - any foreground. The kitchen struc­ above the trash and make us Baryshnikov himself graced a other dance institution. ture, straight out of Hallmark, aware that they are splendid revival of Agnes de Mille's Three As a choreographer he laid an contains enough supplies and artists as well as good sports. A Virgins and a Devil, a miniature expensive egg with Cinderella, equipment to prepare and serve glowing rapport exists in this of sublime wit was reborn as an which is so dreary that no a banquet. partnership, with both continu­ audience favorite. In San Fran­ amount of work can possibly Scores of conspiciously expen­ ing to make big strides in their cisco a novice cast rendered a validate it short of scrapping the sive costumes are displayed dancing. Harvey combines dig­ neat, competent performance of lot and asking Sir Frederick ($100,000 went into wigs alone) nity and delicacy in her every David Lichine's Graduation Ball Ashton to come over and reset and while many of the individ­ movement, and MacKenzie, in bright new decors by Rolf his version. The new $1,000,000 ual designs are fetching they do with his superb carriage and Gerard. But this was a cham­ production has no focus, no little to establish dramatic identi- princely line may well be ABT's pagne ballet danced by members heart, no real wit and a min­ . ties. During the large ensemble most elegant danseur noble since of the Pepsi generation, and all imum of dance interest. Proko­ scenes it's like contemplating Igor Youskevitch. the marrow is gone from the fiev's brittle, sassy score never samples in a monster fashion Standees convened in suffo­ basic portrayals. Innocence, a quite gets the dance impulse it collection. cating clusters to see Barysh­ human condition once easy to cries for and, offering its best Cinderella's role offers small nikov; so there were no seats convey when this ballet was music in the first two acts (as do challenge to the ballerina as available - least of all for devised, is now one of the most the composer's other ballets, actress, dancer or technician; visiting critics - on the nights difficult challenges facing Romeo and Juliet and Stone Prince Charming gets all the that the Tharp pieces were today's ballet dancer who may Flower) the ballet demands breaks, with the fleet, crisp leaps displayed. A chance to contem­ be required to act. imaginative stage resources to and turns which Baryshnikov plate some of the company's Likewise, Billy the Kid no keep the last act from becoming himself does so well. The comics family jewels, however, made it longer has the broad lunge and a downer. Obviously neither give cruel depictions, bound to clear that Baryshnikov has long thrusts that Eugene Loring Baryshnikov nor his partner, offend all opponents of sexism. insisted on keeping ABT's early once showed us in order to Peter Anastos, gave much atten­ Cinderella's stepmother (who masterpieces alive. However, he depict the vastness of America's tion to matters of dramatic makes frequent wild entrances in uses them as teething rings for plains. ABT's dancers now push structure and musical requisites, a wheelchair) and the two the company's junior dancers back the frontier gently, as if DANCE IN CANADA 37

:ely closing a french door. after straining spirit, endurance - · ny Tudor's The Leaves are and intelligence as participants g fared better, being only in this remarkable kaleidoscope • years old, closer to our of ingeniously organized ritual movement to face the apathy NCE in dance values and having :ontinuity of some of its that receives their two token _ nal dancers, including a curtain calls! The man behind red Gelsey Kirkland who, me who summed up the evening, e ously partnered by Mac­ which had opened uneventfully T 11~Jl :zie, made her matchless with the innocuous Paquita, as Practical Magazine ~:n ent of this delicate ballet's "perfect except for that crazy ant mood. Russian thing" speaks for an of Dance •.rome Robbins' Les Noces, audience which hasn't evolved d1 is now danced to tapes much since Pavlova began tour­ Featuring in Each Issue: Building Your Library. Spotlight -: presented outside Manhat­ ing 74 years ago and which on Successful Teachers • Practical Tips. 3 Calendar Sections • Auditions •Seminars & Workshops. Published ·o save the fortune required shows no signs of desiring a bimonthly Plus two annuals: Costume Preview, Equipment !Jearse and pay the singers change. In these terms it's scary Update. :nusicians, sadly conveys to contemplate what lies ahead art has become an albatross for a company continually (□ =-e:;7_;- -□ -;::m::-En::e;- l BT. Stubbornly maintained reliant on resources from 19th­ D Two Years $29.00 D Please Bill Me I - te the sacrifice of its once century Europe and the fickle Payable in US Currency ·e format and danced with a fortunes of superstars who have I the habit of growing old soon -erent belief and a fervor Name g in every other ballet I and retiring early. I I :his season, the work is LELAND WINDREICH Address • y tolerated by an audience I I ~ ed on Minkus and pink I - and remains, 20 years after ; nception, a ballet which people have ever heard of, ISMW Communications, Inc. I . after having seen it. How I 1333 Notre Dame Drive, Davis, CA, 95616 __ _) ·::rated the dancers must be ~------Royal Academy of Dancing l'otr,,11 111 K .\1.'\JESTY THE ()l' El ·::-. Prl'sidt'/11 DA.\11: \1!\R(;or FONTEYN DE AIR IAS DRE

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38 DANCE IN CANADA

Book Beat

Balanchine's Ballerinas: Con­ shop talk when he speaks with from recruiting to performance. the key issue in a production. versations with the Muses, by those dancers who trained with Several superstars are recogniza­ Mordden deftly compares the Robert Tracy with Sharon Balanchine from childhood. ble in shots depicting their character of work by de Mille, DeLano. Musson Book Co. Missing in the array are some services, donated to the cause. Robbins, Cole and Kidd, show­ (New York: Simon & Schus­ key protagonists: Vera Zorina, D'Amboise's approach to child­ ing how the growing significance ter), 1983. 192 p. $34.95. Tanaquil LeClercq and Gelsey ren is simplistic: "Immediate of the dance contribution has Kirkland. If they declined to be approval, immediate disparage­ altered the nature of the music The idea of taping interviews interviewed, Tracy would have ment". "We're here to dance", and the scenario itself. with Balanchine's major baller­ earned points by letting us know he starts off, "and it's not ballet. The Aesthetics ofMovement by inas occurred to Robert Tracy that their omission was not an Because ballet's too hard for Paul Souriau, first published in when he was a student of oversight. you, and you're not good France in 1889, has been given Melissa Hayden's at Skidmore enough for ballet. It's gonna be its first English translation by College. As a dancer with Teaching the Magic of Dance, jazz and you're gonna need the author's granddaughter, Maria Tallchiefs Chicago by Jacques d'Amboise, Hope sneakers". Manon Souriau. (University of Lyric Opera Ballet and later as Cooke & Carolyn George. Mus­ Their teacher's boundless Massachusetts Press, I 983: a scholarship student at the son Book Co. (New York: energy springs from an endless $22.50 US). Dealing with the School of American Ballet, he Simon & Schuster), 1983. 122p. natural ebullience and from the determination of movement had unusual opportunities to $24.95. condition of his own crippled according to physical laws, the knock on doors. Because the feet. After a lifetime of fractures, author advances theories involv­ interview process is at best a Fat City is the name of a typical the second and third toes on ing the expression and percep­ spotty way to deal with history, extravaganza which the each foot have been shortened tion of movement and the and because Tracy set out to National Dance Institute pres­ and webbed together to prevent evolution of critical judgment. deal with the ballerinas as ents each year at New York's further injury. "I just can't stop Samples from Eadweard Muy­ muses rather than as peers, Felt Forum. It features 1,000 moving", he explains. "If I do it bridge's early photographic pawns or possible victims, the children from the public schools, hurts too much". Hopefully cycles of animals and humans in book which results is high in a troupe of ballet-trained city most of the kids in Fat City will motion give historical perspec­ entertainment value but shal­ cops, and a pair of superstars avoid the penalties of a ballet tive to this engrossing thesis, low as a document of a great from major dance companies. dancer's career. And teachers which will serve students of both choreographer's professional Its producer/director is former who read their story may find kinetics and philosophy and will and personal relationships. New York City Ballet principal, suitable alternatives in their enrich the perspective of writers The interviews are short, and Jacques d'Amboise, who is schools for those not destined to on dancing. many of the 19 ballerinas had responsible for both concept and make the grade in ballet. already aired their views in John result, and who recruits profes­ LELAND WINDREICH Gruen's The Private World of sionals from show business to In Brief: Ballet or elsewhere. Thus Alex­ costume the dancers from odds Lydia Lopokova, edited by Milo andra Danilova and the late and ends and to supply the Keynes (St. Martin's Press, 1983: Felia Doubrovska make state­ musical background. $25 US) is a delightful and ments which seem deja vu It took a year of coaching and generously illustrated tribute to despite their coloring with organizing to produce Fat City, his aunt and a companion imperfections in English. But the which will have but one perfor­ volume to a collection of essays bold recent images of them, mance. Next year 1,000 new kids on her husband, Maynard Tamara Geva, and particularly will start training for a compara­ Keynes, published in 1975. The of Tamara Toumanova and her ble act. When d'Amboise first versatile and witty Russian bal­ legendary Mama are extraordi­ offered to teach dancing in the lerina is viewed by peers and narily vivid, and Shonna Vales­ city schools, he never antici­ admirers in the milieu of the ka's camera testifies to the pated the volume of response he Diaghilev Ballets, by colleagues endurance of star quality over ultimately got. By working with in the early British ballet and as the passing of years. a completely new group each a dutiful wife by friends in the Of the dancers trained in year, he's able to spread his Bloomsbury circle. America whom Balanchine ulti­ services around. Unusually tal­ The ingredients of the Ameri­ mately inherited only Ruthanna ented or ambitious children may can musical comedy are artfully Boris gets mouthy about such continue their dance training in discussed by Ethan Mordden in matters as rejection, forgotten any one of New York's dance Broadway Babies (Oxford Uni­ promises and perfidy. Maria centres; perhaps the balance versity Press, 1983: $25.25), and Tallchief and Melissa Hayden, may become the dance audience in a chapter called "The Choreo­ both quite vocal elsewhere about of tomorrow. graphers" he gives a splendid the trials of being over the hill in This fetching book, illustrated account of the evolution of a Balanchine ensemble, take a with photographs by d' Am­ Broadway dancing from "a quieter stand for Tracy's inquir­ boise's wife, Carolyn George, function without a purpose" to ies. Lore becomes replaced by tells the story of the process what has become in some cases DANCE IN CANADA 39

Noticeboard

Craig Sterling, for several years in roles from the RWB's large a leading and much admired contemporary repertoire. member of the Royal Winnipeg Sterling, later danced with Ballet, died of brain cancer, Sweden's Malmo State Theatre ~ ovember 21, 1983. Born in Ballet and with The Australian Hartford, Connecticut, where he Ballet. On his return to North began ballet studies, Sterling America he appeared with the later attended the National Houston and Washington Ballet School in Washington, Ballets. At the time of his death D.C. and later the University of he was administrator of the Utah, performing with Ballet Ballet Centre in Charlottesville, West. Virginia. He is survived by his He joined the Royal Winnipeg wife, Louise Naughton, formerly Ballet at the age of 19 and rose a principal dancer with the to become a principal dancer. RWB and now director of the His good looks and handsome Charlottesville Ballet Centre. physique made Sterling an ideal Their son Alexander was born 5 ballet prince but he also excelled years ago. Harbourfront officials thought this image, which appeared on a poster for Daniel Leveille's company appearance in Toronto, inappropriate and chose to use something different. Now you know what you missed! " with its suggestions of bon­ includes Arsenic and Old Lace dage" - to the PDT's subscrib­ and Hamlet for the Grand ers. According to Leveille the Theatre in London) and cos­ offending poster captures the tumes by Suzanne Mess. spirit of his work, "the humour, Following its world premiere the violence, the sexual things", at Edmonton's Citadel Theatre but Harbourfront settled instead on April 7, Duddy will play for the more staid image of Saskatoon's Centennial Audito­ clothed dancers in a scence from rium, May 10-13; Regina's Cen­ the choreographer's But I Love tennial Theatre, May 16-19; You. Toronto the Good tri­ Vancouver's Queen Elizabeth umphs once more! Theatre, May 22-27; Ottawa's The du Maurier Council for the National Arts Centre, May 31- Performing Arts has announced June 3; Hamilton Place, June grants totalling $275,000 in sup­ 5-9; Winnipeg's Centennial Con­ port of projects to be staged cert Hall, June 12-16; Kitchen­ during the 1984-85 performance er's Centre in the Square, June 19-23; Montreal's Place des season. Dance organizations will Arts, June 25-30; and Toronto's receive a total of $52,000 (20. 7% O'Keefe Centre, July 3-15. of the funds allocated). Those organizations receiving grants Duddy is scheduled to open on Broadway in late September. are the Dance in Canada Associ­ ation ($17,000), the Royal Win­ The University of Waterloo has nipeg Ballet ($13,000), Les published an updated and Grands Ballets Canadiens enlarged Catalogue of the Dance ($12,000), Anna Wyman Dance Collection in the Doris Lewis Theatre ($5,000) and La Troupe Rare Book Room. Issued as Folklorique Les Sortileges Number 10 in the library's ($5,000). Craig Sterling who died last year at age 32. Bibliography Series, the 210- Brian Macdonald directed and page catalogue lists nearly 1,000 choreographed the new musical rare books on dance and ballet. Daniel Leveille hit the Toronto rear - with his hands bound! Duddy. Based on Mordecai Dance scholars may acquire headlines in January when offi­ According to Harbourfront's Richler's best-selling novel, The copies at $10.00 each from Jorn cials at Harbourfront's new performing arts manager Tom Apprenticeship ofDuddy Kravitz, Jorgensen, Library Business Premiere Dance Theatre Scurfield, as reported in The the show has music by Mike Administrator, Dana Porter declined to use a poster provided Toronto Star, the waterfront Stoller and lyrics by Jerry Arts Library, University of • y the choreographer in which a theatre did not want to present a Leiber, with sets by Phillip Silver Waterloo, Waterloo, Ontario, nude man was depicted from the controversial image - one (whose most recent work N2L 3Gl. 40 DANCE IN CANADA

They're counting the pennies of recent performances is any- adds Bruhn ruefully, "one of the ment comes in many forms, each these days at the National Ballet thing to judge by. hardest things is to ask people worthy of respect and attention. of Canada's downtown Toronto Erik Bruhn must take the who've already given blood and Also, he let it be known that the headquarters and artistic direc- credit for this since he has not let sweat, to make further sacrifices National, whatever its directors tor Erik Bruhn says the com- troubles with the bank deter him for the company". may at times have suggested, pany's crippling financial plight from his objectives to shake up The National's new artistic does not see itself as the Ark of is, "not exactly what I thought I the company and give it a new director says he could not have the Covenant as far as Canadian was getting myself into". look. Bruhn says the last few survived the difficult period of dance is concerned. It recognizes In late January the National months have been hectic and settling into a company in crisis its place in the community of admitted its books were not he's tired of all the meetings he's unless he'd had the support of Canadian dancers and compan- quite as healthy as it would like had to attend. At times, he his artistic administrator, Val- ies and wants to be a vital part them to be. In fact, there's red admits, relations with the board erie Wilder. "If she wasn't here", of that community. ink spilling all over them. The have been strained as Bruhn has says Bruhn, "I wouldn't be Bruhn has also made some November hometown season fought successfully to maintain here". bold and timely choices in his left too many seats unoccupied the dancing roster at 67 names. Meanwhile, Bruhn has begun casting of roles. Most signifi- in Toronto's cavernous O'Keefe "I knew", says the shrewd to forge the National Ballet into cantly he's extended the work of Centre and the company took director, "that ifl gave in I'd the company he wants it to predecessor Alexander Grant by home $200,000 less from the box never get those dancers back". become. Not everyone in the showcasing the company's fine office than expected. Add that to Bruhn believes in keeping the National's February 18 gala assembly of younger male the existing deficit and the total lines fo communication open audience found the heavy injec- dancers and he provided two figure tops a million - not the within the company so everyone tion of modern dance - every- highpoints to the National's end of the road for a large knows what the situation is. thing from Robert Desrosiers February season by giving the performing arts institution with Bruhn says he spends a lot of and Dancers through Danny pinnacle role of Odette/Odile in an annual operating budget time talking to dancers individu- Grossman to Toronto Dance Swan Lake to Sabina Allemann, nudging relentlessly towards the ally in his office, helping them Theatre - quite what they had partnered by Italian Marco $10 million mark, but still cause clarify their career goals, giving expected. Some were also upset Pierin, and to Gizella Wit- for anxiety. them an honest perspective on that the man who sold the show, kowsky, with Gregory Osborne Fortunately, the winter season their prospects in the company, superstar Mikhail Baryshnikov, as her Prince. Both gave extraor- in February exceeded projected telling those who've been used to decided to eschew classical danc- dinarily strong debuts and each box-office takings with an over- steady work year round that ing in favour of Twyla Tharp's made her mark in individual all attendance of 73 per cent of they'll have to settle for less Sinatra Suite. But, liked or not, ways. It was a dazzling exhibi- capacity but that did not spare secure contractual arrange- Bruhn's gala gots its message tion of the riches Bruhn is now the jobs of 16 musicians who ments. Bruhn thinks he's man- across as clearly as had the responsible for nurturing and were let go to reduce the aged to close the gap between addition of Grossman's Endan- also a sign that the National is National's orchestra to a paltry himself, "the boss", and the gered Species to the National's not letting its money problems 39 members. dancers, many of whom he's mainstream repertoire. interfere with its primary pur- Thankfully, hard times do not known since they were in short First, he was telling everyone pose - to dance. seem to have dampened the pants and uniform skirts at the that ballet does not exist in a company's morale if the quality National Ballet School. But, corner of its own, that move-

BRITISH COLUMBIA Artistic Director Renald Rabu. met with critical acclaim and ALBERTA The company returns to Van- standing ovations throughout EDAM, Vancouver's experimen- couver for performances at the the trip. Financial assistance for The Dr. Betty Mitchell Theatre in ta! dance and music co llective, Queen Elizabeth Playhouse, the tour, one of the longest ever the Southern Alberta Jubilee made its tour of Eastern Canada April 26-28. undertaken by a Canadian mod- Auditorium, Calgary, was offi- this spring, with performances in em dance group, came from the cially dedicated on January 25. London, Sherbrooke, Montreal, The Karen Jamieson Dance Com- Department of External Affairs, The 250-seat theatre (with 30 St. John's, Charlottetown and pany, which made its debut in the B.C. Cultural Fund and the seats that can be added if the full Halifax. Featured on the tour February, will be in residence at B.C. Lottery Fund. thrust stage is not needed) is was EDAM's first fully collabor- Vancouver's Arts Umbrella Arts The company has been invited self-contained within the Audit- ative work, Run Raw: Theme and Centre for two weeks in April. to perform in June at Ger- orium and is equipped with the Deviation, a simulation of com- In addition to works from the many's prestigious Tanz Festival latest lighting and audio petitive sports that captures general repertoire, performances Nordrhein-Westfalen. They will equipment. what can best be described as an will feature the company's signa- appear in Leverkusen, Neuss, athletic aesthetic. ture piece, Sisyphus, and the Wuppertal, Cologne and The Banff Centre School of Fine premiere of a new work. Dusseldorf. Arts will present Frederick Ash- Pacific Ballet Theatre toured 18 During the past winter, Anna ton's Fai;ade during the Banff B.C. and Alberta centres during Anna Wyman Dance Theatre Wyman set A Dancer's Circus on Festival of the Arts in July. The its spring tour. Repertoire completed its first major tour of students of the National Ballet ballet will be staged by Robyn included Pierrot 1980, Tides- Europe last fall. The highly School in Toronto. They will Hughes, with finishing touches capes, Bluebird Pas de Deux, successful two-and-a-half month perform this work at the to be applied by Alexander Ebony Concerto, Pas de Quatre, tour took the company to Toronto International Festival Grant, former Artistic Director Humanic Mechanic, Autumn France, Belgium, Switzerland in June. of The National Ballet of Score 2-2 and a new work by and Liechtenstein. They were Canada. DANCE IN CANADA 41

Negotiations are also under­ MANITOBA way to produce George Balan­ chine's Allegro Brillante as well The Royal Winnipeg Ballet will as two pas de deux staged by add three works to its repertoire Laura Alonso of the Cuban during the 1984-85 season: Song Ballet. of a Wayfarer, by Maurice David Earle, co-founder and Bejart; Far;ade, by Frederick resident choreographer of Ashton; and Symphony in D, by Toronto Dance Theatre will Jiri Kylian. Kylian is the fourth create a new work for the Banff Dutch choreographer (after students. Rudi van Dantzig, Hans van SASKATCHEWAN Manen and Nils Christe) to contribute work to the Royal Saskatchewan Ballet Theatre, Winnipeg Ballet. now in its second season, is Artistic Director Arnold expanding its repertoire. Among Spohr also announced that Peter new works are Variations on a Wright's popular production of String, by ballet mistress Hazel Giselle will again be presented Ann Olson; Baroque Dances and during the company's home On Company Time, both by performances in Winnipeg. artistic director Marie Nychka; Performance dates for the and Eyes of the Heart, a pas de 1984-85 Winnipeg seasons are deux by Ross Brierton. October 17-21, December 26-30, Principal dancers this season March 6-10 and April 17-21. are April Chow, Lorne Mat­ During March and April this Bill Evans - new artistic director of Winnipeg's Contemporary thews, Andrew Ross Nicholson year, the RWB undertook a Dancers. and Marie Nychka. Members of lengthy Canadian tour which the Apprentice Program are included visits to the Ontario Fredericton, Sackville and St. stamp on the company with Cheryl Tweet, Darla Thompson, cities of Toronto, Windsor, John and to Halifax, Nova ambitious plans that could see it Darleen Schlademann, Suzanne London, Barrie, Kingston and Scotia. The company also made expand its activities into Saskat­ Stewart, Morel Carefoot an·d Ottawa, to St. Johns, New­ an important visit to the Brook­ chewan. Under the terms of a Barbara Grant. foundland, in New Brunswick to lyn Academy of Music just proposal announced in March, across the East River from the Winnipeg company would in Manhatten where RWB star effect make Regina its home CJJanCelebratioIL Evelyn Hart gave her New York away from home, giving perfor­ --~ - - ,,..- __:__._ -=--~ - City area debut in a role for mances in that city on a regular which she has already become basis. It would co-operate with traditionally renowned - the existing Regina Modern Giselle. Dance Works, (which since the departure of its former heads Principal dancer David Peregrine Maria Formolo and Keith is currently taking a five-month Urban has functioned princi­ leave of absence from the Royal pally as a teaching organiza­ July 22 - August 3, 1984 Winnipeg Ballet to dance with tion), by offering two Lakeland College, Vermilion, Alberta the San Francisco Ballet. Asked Saskatchewan dancers assured why he chose the San Francisco positions in the Winnipeg Promoting a broadened horizon on the world of dance company, Peregrine said, "for company. the growth. To achieve all that I Having left Seattle and his • technical training BALLET can as an artist it's important to former company, Bill Evans is • enrichment activities Lambrose Lambrou meet new challenges. I will have rapidly familiarizing himself an opportunity to learn both with the Canadian dance scene. • other forms of dance new works and new styles; and He presented an evening of solo 'v\ODERN though it's a bit frightening, it's works at Winnipeg's Gas Sta­ Maria Formolo tion Theatre on April 17 and Keith Urb an For danc ers with three yea rs training also very exciting." in any di scipline offered San Francisco Ballet's reper­ from May 16-19, Winnipeg toire includes works by its Contemporary Dancers will per­ JAZZ Application $ 25.00 directors Michael Smuin and form an evening of his choreo­ Li z Willi amson Tuition $125.00 Room & boa rd $250.00 Lew Christensen, Jiri Kylian, graphy at the Manitoba Theatre

Appl ica tion dead line June 1 5, 1984 Arthur Mitchell and George Centre Warehouse. Balanchine. Peregrine will Another of Evans' projects is appear with the company the development within Canada Contact Dawn Kel ly Ha rvey through May 1984. of The Bill Evans Summer Celebrating dance an d creativity Lake land College n inspiring rura l se tting Central Office Institutes of Dance which have 4420 - 50 Avenu e Lloydminster, Alberta Winnipeg Contemporary been in operation since 1976. In T9V 0W2 - - - TPlephone (403) 871-8828 Dancers' new artistic director 1984 sessions will be held in Bill Evans is rapidly putting his Meadville, Pennsylvania, Port 42 DANCE IN CANADA

Townsend, Washington, and in Winnipeg, (June 4-30). Each program offers a comprehensive range of classes as well as special courses in such areas as music for dancers, composition, injury prevention and treatment, and improvisation. Evens tells us that his ambition is to consoli­ date these efforts over the next few years to establish a major summer festival in Winnipeg, what Evans calls "a national and international centre for new movement studies and new dance." ONTARIO

Graeme Murphy, artistic director of Australia's Sydney Dance Company is creating the choreo­ graphy for the Canadian Opera Company's production of Ben­ jamin Britten's acclaimed, Death in Venice which will be presented this June in Toronto. Murphy and COC general director Lotti Mansouri held extensive auditions in Toronto The Canadian Childrens Dance Theatre delighted Toronto audiences once again with a program of mostly and New York to find the right new works at The Winchester Street Theatre in April. dancer for the key role of Tadzio - and others to portray his tions will aid directly in the of Paradise), a new ballet by Toronto Dance Theatre made its friends. The event will mark development and growth of the Resident Choreographer Con­ major hometown appearance of Graeme Murphy's debut as a company. stantin Patsalas, will receive its the 1983/84 season at the choreographer in Canada. The world premiere during the Premiere Dance Theatre, April Melbourne native has danced The Canadian Children's Dance spring season. Based on lively 3-7, as part of the "Great with and directed SDC since Theatre presented Spring, a Venezulan folk songs, th music Performers" subscription series. 1976 and has also choreo­ showcase of new dances, in the has been orchestrated by Cana­ Performances featured works by graphed for the Australian Winchester Street Theatre in dian composer Harry Freed­ the company's resident choreo­ Ballet. His controversial Toronto, April 6-7. After its man. Sets and costumes are by graphers - Peter Randazzo, Daphnes and Chloe for SDC warm reception at last summer's Desmond Heeley. David Earle, Patricia Beatty and featured dancers on skate­ Dance in Canada conference in Evelyn Hart will appear in Christopher House - as well as boards and included a steamy Saskatoon, the company has Giselle and La Bayadere, Act II, appearances by Randazzo, Earle nude shower scene! once again been invited to make partnered by Frank Augustyn. and Beatty, co-founders of a conference appearance, this Rudolf Nureyev will partner Toronto Dance Theatre, and Toronto Independent Dance time at DI C's lavish '84 extrava­ Karen Kain and Veronica Ten­ marked official celebration of Enterprise celebrated its fifth ganza to be held in Toronto, nant in The Sleeping Beauty. TDT's 15th anniversary. birthday at St. Lawrence Hall in June 2&July 1. Mary Jago, principal dancer Toronto on April 12. More than Ottawa Dance Theatre made its with The National Ballet of a dozen performers and per­ The National Ballet of Canada official Toronto debut in March Canada, will retire from dancing forming arts companies, among appears at the O'Keefe Centre in at the Winchester Street Theatre at the end of the company's them Toronto Dance Theatre, Toronto, April 25-May 13, with with a program of new or recent spring season in Toronto. She Dancemakers, Robert Desrosi­ guest artists Evelyn Hart and works by choreographers will join the National Ballet's ers, Claudia Moore, The Acme Rudolf Nureyev, who returns to Dwight Shelton, ODT's ballet artistic staff in June. Canadian Harpoon Company and Brenda the company after a lengthy master, Carol Anderson, Chris­ dance historian and critic Pene­ Nielson, contributed their talent absence. tine Kozlowski, Anna Blew­ lope Doob will be giving Dance as a birthday gift to T.I.D.E. The company will perform champ and artistic director in Canada readers an intimate The Birthday Party served as a Giselle, Nureyev's version of The Judith Davis. A similar program personal and artistic profile of fund-raising event for the com­ Sleeping Beauty and a mixed was later presented by the Jago in a forthcoming issue. pany and, to this end, incorpo­ program featuring a new staging company in Ottawa. rated the birthday tradition of of La Bayadere, Act II , by George Crum, the National giving presents. Admission was Natalia Makarova and Glen Ballet's musical director and The Danny Grossman Dance five dollars and a birthday gift, Tetley's Sphinx, which received principal conductor since the Company, followed its home­ large or small (from postage its first national Ballet perfor­ company's foundation in 1951, town appearance at Harbour­ stamps to a cash donation to a mances last season. has also announced that he will front's Premiere Dance Theatre word processor). These dona- Oiseaux Exotiques (The Birds be retiring at the end of June. last fall - which included the introduction of Grossman's and international dance com­ QUEBEC latest work Shaman - prepared munity will be gathering in Series. for its current tour of Belgium, Toronto. There will be a special Les Grands Ballets Canadiens Germany, Switzerland and Eng­ Silver Anniversary performance recently announced plans for its Le Groupe de la Place Royale land, On their return in May, the at the O'Keefe Centre with new 1984-85 season, a season in held one of its regular in-hol!Se Grossman dancers will be visit­ ballets from American choreo­ which it will offer traditional presentations of new choreo­ ing Quebec. grapher Glen Tetley, Dutch works such as Balanchine's graphy by company members in Meanwhile, Danny Grossman National Ballet director Rudi Serenade and Fokine's Les Syl­ Ottawa at the end of March with found time to appear in the van Dantzig, Hamburg State phides together with such selec­ works by Bill James, Janet ational Ballet of Canada's Opera Ballet head John Neu­ tions from its repertoire of Oxley and Tassy Teekman. This February 18 gala, performing meier and others. The school is contemporary works as Judith spring Le Groupe leaves for a Curious Schools of Theatrical currently trying to locate all Marcuse's Seascape, Milke Spa­ tour of France. James's multi­ Dancing: Part I and also set his former students who have lost remblek's The Soldier's Song media work based on an imagi­ Endangered Species on the touch so that they can be invited and James Kudelka's recently nary confrontation between ational, (see a review in this to join in the celebrations. So, if premiered A 1/iances. Karl Marx and Charles Darwin issue). Later in the spring Gross­ you're one of those, pick up the Alliances, set to Brahm's drew careful attention from the man will be off to Paris where phone and call (416) 964-3780. Piano Concerto in D Minor, was critics. Oxley used music of Erik his friend Rudolf Nureyev, who well received by critics after Satie, rearranged for electronic now directs the city's illustrious The Art Gallery at Toronto's premiers in Quebec City and instruments, as the basis for her Opera Ballet, has asked him to Harbourfront has mounted a Montreal and shows a continu­ piece, The Three Distinct Fanta­ choreograph. special exhibition entitled Enter ous line of choreographic devel­ sies of a Jaded Candy-Striper. In the fall the company will be Stage Rite which celebrates the opment from Kudelka's big hit Teekman's Message on the Wall off on its travels again, this time creative genius of theatrical of last season, In Paradisum. raised its own set of questions by to South America. designers as well as the Toronto As part of a cultural exchange posing the situation of an International Festival, to be held between Canada and the Peo­ individual partitioned off from The National Ballet School is this June. Internationally ple's Republic of China, choreol­ the immediate environment by already making plans for this renowned designers whose work ogist Zhang Yuyi came to walls. fall's celebration of the world is on display are Germany's Montreal in December to stage a famous institution's 25th birth­ Jiirgen Rose for the National traditional folk dance, The Red Montreal's glass and concrete day. During a two-day event, Ballet of Canada's production of Ribbon Dance, for Les Grands downtown convention centre November 20 and 21, many of Onegin, restaged from the cho­ Ballets Canadiens. The com­ swung to the the beat of the school's graduates as well as reography of the late John pany will perform this work in rock'n'roll, jazz and disco as leading artists from the national Cranko. China when they tour the Far well as classical and other East this summer. assorted musicial forms for a Les Grands Ballets Canadiens four-day extravaganza - Danse returns to New York's City '84, March 22-25. Experts in Center, April 17-22. They will every imaginable kind of dance present the US premieres of were on hand as well as James Kudelka's latest ballet, performers from the Royal Win­ Alliances, Brian Macdonald's nipeg and National Ballets. One Findings and Quest, by Ameri­ of the program's highlights was can choreographer John Butler. a super-disco with the inclusion Other works scheduled include of break-dancers from New Kudelka's In Paradisum, George York. Danse '84 included com­ Balanchine's Capriccio, a revial mercial stands for all kinds of of David Lichine's Graduation dance products and services, as Ball and Seascape, by Judith well as a dance competition with Marcuse. total prizes in excess of $6,000. There was also a special tribute Susan Macpherson, in her first to Grands Ballets Canadiens full solo evening since 1981, founder, Ludmilla Chiriaeff. performed Personal Collection at La Maison de la Danse in NOVA SCOTIA Montreal in February. The two sold-out performances featured Following a spring tour of ova works by Doris Humphrey, Scotia by Newfoundland Dance James Kudelka, Paul Andre­ Theatre and Nova Dance Thea­ Fortier, Robert Cohan and tre, made possible tbrou0 Linda Rabin. Macpherson was second interprovincial joined for one duet by James exchange betwee n. ·ova Kudelka, principal dancer with and Newfoundland_ a Les Grands Ballets Canadiens. Following a European tour, '.\1ary Jago, who retires from the stage this May after 18 years with the same two com :Sational Ballet, seen here with Rudolf Nureyev in one of her most Macpherson will perform Per­ duled for the fat: acclaimed roles - as The Lady in White from John Neumeier's Don sonal Collection at the Festival _uan. d'Ete de Quebec and at Ottawa's 44 DANCE IN CANADA

Dance at a Glance

American Dance Guild Ecole de Dansc Pointepienu. Lumitrol Limited The School of Dance Book C lub Programme de formation Spotlights, Dimmers, Curtains, Merrilee Hodgins/ Joyce Shietze Ballet, modern, technique, biography: professionnelle ballet classique, danse Supplies, Professional System design, 1339 Wellington St., Ottawa, Ont. the best a nd the newest at discount. moderne, directeur Claude Champoux. rentals, sales. 253 Merton St., Toronto, K IY 3B8. (613) 729-3756. Writ e Box 109, Princeton, NJ 08540 54 15 C hemin Queen Mary, Montreal, OntarioM4S IA7.(416)485-4817. Pre-Professional Programme Jun ior USA. Quebec H 3X IVI. (5 14) 487-5622. and Senior School. Ontario Ballet Theatre Ann a Wyman School of Classical ball et and modern classes. For Performing Oct. 25-April 30. For The School of the Toronto Dance Arts information: Ecole de danse information call: 656-9568. Dance Theatre 1705 Marine Dr. West, Vancouver, BC Pointepienu, 5415 Chemin Queen Mary, 30 Winchester Street, Toronto, O ntario V7V IJ5. Contemporary, ballet ,jazz, Montreal, Quebec H3X IV I. (5 14) 487- Ontario School of Ballet M4X IB2 (416) 967-6887. dance exercise. Children's trai ning 5622. and Related Arts Three-year professional training program a nd adult classes. 1069 St. Clair Avenue West (midway programme in modern dance. Entrance (604) 926-6535. Edmonton School of Ballet between Oakwood and Dufferin), by audition only. A lso offering open General and professional progrnmme. Toronto, Ont. M6E IA6, Phone: 656- classes in modern and exercises for Ballet, Etc . ... P.O. Box 35 1, 7330-l 13th St., Edmonton, Alta. T6G 9568. Registrations accepted 4 terms adults and children. Principal: Billyann Charl ottetown, P.E.l. C IA 7K 7, 902- JLG. per year. Balay. 894-4608. Ballet, Jazz, RAD classes, Performing Company. Goh Ballet School PEI Ballet Association Tinda Holland School of Dance 307 C lassical ballet, chinese dance, Ballet & Jazz/Modern Divisions. All Bering Ave., Etobicoke, Ont. M8Z 3A5. Bayview School of Ballet under the character,jazz, pre-school to adult, levels. 4 teaching centres. Information: Ballet - Character, Cecchetti and di rection of Bella Kovarsky. Ballet professional training program. 2 studios 902-894-7984 or 902-436-5302. P.O. Box Russian. Jazz - Alvin Ailey & Adult. (Russian Method) character a nd Jazz. in Vancouver, BC. 2384, Charlottetown, PEI, C IA SC I. Fitness Studio Rental Available. 416- A l\ levels. 130 W ill owdale Ave., (604) 872-4014. 239-0111. Toronto. (4 16) 222-5 111. Quinte Dance Centre Grant MacEwan Community College Full professional program to graduate York University: Canadian College of Dance- Edmonton Alberta. 2 year diploma in level. Enquiries invited for winter and Dance Department Ryerson Theatre Dept. dance or dance teacher training. summer schools. Box 534, Belleville, Dianne L. Woodruff, Chairperson, Teacher training Course. Coaching Nationally renowned instructors. Call 1- Ont. K8N 5B2 (6 13) 962-9938. B.A. (Hons}, B.F.A., (Hons) in for RAD and !STD exams. 50 403-483-2331 . Performance Choreography, Notation, Gould Street, Toronto M5B IE8, Russian Academy of Teaching, History, Criticism, Dance 595-5086. The Kathak Institute, Rina Singha Classical Ballet Ltd. Therapy; M.F.A. in History and Ancient classical tem ples and court Mary Aslamazova, Director. Classes Criticism. SUMMER SESSION: Credit Cent re of Movement, dances of north I ndia. Training, beg. to day and evening, from beginners to or non-credit. ( 4 I 6) 667-3243, 4 700 171 Hampton Ave., Toronto M4K prof. research and conservation. 173 professionals. 935 Bloor St. W. (at Keele St., Toronto, Ontario 223, 466-9549. Private sessions, Coxwell Avenue, Toronto M4L 3B4. Ossington), Toronto, Ontario, M6H M3J IP3. classes & workshops. (416) 463- 17 10. IL5 (416) 532-2993. Teacher/ Director: Les li e French. Le Groupe de la Place Royale. Complete School of Winnipeg's Concordia University modern dance program . Beginner to Contemporary Dancers Classified 7 141 Sherbrooke St. West Professional levels. Spring, Fall & Modern, Ballet, Creative Dance, Jazz, Montreal, Quebec H4B I R6 W inter Sessions a nd Annual Summer General, Pre-Professional, Professional Developing Programme in Modern School. 130 Sparks Street, Ottawa. (613) Programmes. 2nd Floor, 444 River dance & Creativity in scholastic year. 235-1492. Avenue, Winnipeg, Manitoba RJL Professor Elizabeth Langley. 0C7. (204)452-1239. Artsperience '84 July 7-27, Canadore T el: (5 14) 879-5803. London Academy of Dance and Theatre College, P.O. Box 5001, North Bay, Arts. Dorothy Scruton, Principal, Joseph Shulman, The Other Ontario, PIB 8K9, (705) 474-7600 or 1- Jim Dawson Photowork. Promotional Traini ng to professiona l standard by Agency, Public Re lations 800-461-95 13 (from 416, 6 I 3, 705, 519). photography for performers a nd hi ghly qualified staff. 432 Waterloo St., 11 79A Bloor St. West, T oronto, Dance July 9-20, ballet, modern, tap, organiza ti ons. Resume and portfolio London, Ont. N6B 2P2. (5 19) 439-8961. Ontario M6H IM9. Telephone (416) jazz. Teachers' workshop July 7 & 8. sho ts; poster, brochure, publicit y. 532-6519. Instructors: Renee Rouleau, Suzette Studio 2, 2 Boulton Ave., Toronto, Ont. Les Ballets Jazz, Ecole Superieure Sherman, William Orlowski, Debbie M4M 213. (4 16)465-67 16. 1231 St. Catherin e St. W, Simon Fraser University Centre Poland. (514) 849-6071 for the Arts Diana Jablokava-Vorps School of Montreal, Quebec H3G 1 PS Grant Strate-Director Fully equipped studio for sale in C lassical Ballet -Kirov Method Mini stry of Educatio n BA degree program with a dance Kamloops, B.C. Offering classes in Art. Dir.: Toronto Regional Ballet and Permit #749889 major in an interdisciplinary fine and ballet-jazz classical ballet, modern and Toronto Summer School in Dance. Jazz, C lassical, Tap performing arts department. tap for children and adults. Professional 1920 Avenue Rd., Toronto, Ont. M5M Prof. Adv. int. Beg. Contact T ony Besant company also in residence, teaching 3B9. (416) 489-7597. Scholarships. (604) 291-3363. staff avail able if required. Contact Founders: Genevieve Salbaing, Owner, 6-2121 E.T.C. Hwy., Kamloops, Douglas D. Du rand 3-D Arts Eva van Gencsy. Sun Ergos, A Company of B.C. Y2C 4A6. Management. Bookings & T our Theatre and Dance Coordination Publicity & Publi c Les Ball ets Russes de Montreal Dana Leubke & Robert Greenwood, Teacher required for Sept./84 for Pre­ Relations, P.O. Box I 182, Station F, D irector: M ikhail Berkut. Classical Directors 2205, 700-9th St. SW., Ballet to Major Syllabus, plus Toronto, Ontario M4Y 2T8. (4 16) 922- Ball et (Russian Method), Ballet-Jazz, Calgary T2P 2B5. Tel. (403) 264-4621. jazz/modern. Experience preferred but 8649. C haracter Dances, Beginners to Perform ances-Classes. not essential. Interest in performance an Professiona ls. Courses year round. asset. Some travel required. Send Ecole Dansepartout Kalinka Slavic Dance Company. Theatrebooks Limited resume to PEI Ballet Association, Box Casier postal 597, Haute-Ville, 336, rue 123 1 St. Catherine St. W., Montreal 659 Yonge Street, Toronto, Ontario, 2384, Charlottetown, PEI CIA 8C I or de Ro i, Quebec, Quebec G I R 4S2. H3G I P5; (514) 288-1677. M4Y 129. phone 902-894-7984. (4 18) 525-4657. Permis d u ministere de Canada's finest se lection of Dance \'education #669584 Cours de danse Lois Smith books. classique, da nse moderne, jazz, danse George Brown College creative; ateliers; programme de School of Dance The Friends of Terpsichore boursiers; (debutants a professionnels). 200 King Street East, Toronto All types of DANCE BOOKS bought ( 4 I 6) 363-9945. a nd sold. Catalogue available. Ballet, Pointe, Character, Modern, P.O. Box 563, Postal Station Q Jazz, J u ni or, Se nior a nd Adult C lasses. Toronto, Ont. M4T 2N4. Two-year d iplo ma progra m­ (416) 651-7262. professional level. IN

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