Dance in Canada Magazine Number 12, Spring 1977

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Dance in Canada Magazine Number 12, Spring 1977

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One copy of Dance in Canada Magazine Number 12, Spring 1977

Contains the following articles:
- Editorial by Susan Cohen
- Parallel Position by Elizabeth Chitty
- Dear Folks by Margaret Dragu
- 15: Terrill Maguire by Selma Odom
- The Other Side of Britain by Jan Murray
- Diary of a Prison Tour by Andrea Ciel Smith
- DATACS by Scott Beaven
- In Review
- Vancouver by Elizabeth Zimmer
- Toronto by William Littler
- Montreal by Suzanne Asselin
- Edmonton by Lesley Burke
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Dance in Canada Magazine
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Toronto Vancouver Ballet Terminal City Dance Experimental Susan Cohen Anna Wyman Dance Theatre Dancemakers William Littler Montreal David Y.H. Lui Ernst Eder Agents Karen Kain Ann Ditchburn Elizabeth Zimmer Judith Marcuse Selma Landen Odom Encounter Frank Augustyn Miriam Adams Terry McGlade 15 Dance Laboratorium Suzanne Asselin Terrill Maguire Festivals Elizabeth Chitty Margaret Dragu Lap Robert Desrosiers Jan Murray Andrea Ciel Smith Scott Beaven Lesley Burke Gisa Cole Norrey Drummond Albert Reid Association of Dance and Mime Artists Association of Non-Profit Artists' Centres London Contemporary Dance Theatre Mime Kali Re-Match Run Ragged Sea Changes Great Britain England Edmonton Audiences FIlm Galleries Multicultural Events Theatres Dance as Therapy Vladivostok Mitchell Kirsch William Louther Dance and Theatre Corporation Ross McKim Fergus Early Corrine Bougaard Prism Dance Theatre Afternoon of a Faun Carol Eder Maritime Contemporary Dance Company
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01/04/1977
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Dance in Canada Magazine Number 12, Spring 1977
Dance Collection Danse

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'-... ~ Dance in Danse au Spring'77 Printemps / ;h / o( s In this spring issue Dance in Canada explores alternatives to co nvent ional audiences, spaces, definitions and techn iques. The usual descript ions of this undoubtedl y growing aspect of Canad ian dance - fringe dance , rad ical dance, conceptu al dance, etc. - paper over a mult itude of differences in approach and ideas. To examine it, we have gone mainly to the artists themselves: El izabeth Ch itty, ch oreog rapherdancer, looks at the parallel gallery network t hat is springing up across t he country and lets us in on the thinking of artists who use those spaces ; Margaret Dragu, who produces exciting dance-th eatre that defies labels, sketches a series of scenes (rather like her dances) whic h vividly portray her att it ude to conventional movement and Andrea Ciel Sm ith , dancer, choreographer and member of Dancemakers, gives us her impressions of a tour the co mpany made last December of Ontario prisons. One of the si tes most congenial to alternat ive dance is To ronto's 15 Dance Laboratorium : 52 cho reograp hers have shown work there. Selma Odom , a wri ter and professor of dance history, reviews one of the choreographer-performers who has recen t ly appeared t here, Terrill Magu ire. To most of us, Eng land is t he home of the Royal Ballet and The Place . But Jan Mu rray, dance ed itor of t he radical London weekly Time Ou t, te lls us about the other side of dance in t hat co untry. Finally, in our featu res sect ion , Scott Beaven, entertainment editor of The Albertan , gi ves s a brief look at an interesting develop ent o the Calgary dance scene - the formati on of a e co-ordinating body of dance sponsors , DATACS . Toronto Star dance cri tic Wil ia Littler, Vancouver's proli fi c Elizabet Zi mer a our regu lar Montreal con t ributo r Suzan e Asse li n report on th e year's activi t ies in their res ec e c· ies , the th ree most active dance centres i Ca ada. or I Review. For that sect ion as well, we oc s e Canadi an city where dance is rapidly i creas - Edmonton . s at the A writer new to our pages, es e B year there. t at we Once again, Dance in Canada re will return to our co mplete bi li g a o as it is f inanciall y possibl e. 2 Dans cette edition du printemps, Danse a explore !'alternative - au monde co ve i idees , des espaces, des audi toires et des ec Les descriptions habituelles de ce cote e i grand issant de la danse canadien e. peripherique , danse radicale, danse idealis e. e abondent d'une multitude d'idees et d'abor s Pou r !'exam iner, nous nous som mes a pri ncipalement aux art istes eux-m~mes: E Chitty , danseuse-choreg raphe, jette un co sur le reseau parallele de galeries qui jai ll it pa pays et nous communique les reactions des qu i ut ilisent ces espaces. Margaret Dragu , q i un thMtre-danse tres excitant, defiant toute e i nous dessine une serie de scenes (q uel e semblables a ses danses) et qui depeignen t avec son attitude face au mouvement convent io e Andrea Ciel Smith, danseuse-choregraphe et me du Dancemakers, nous communique ses im press d'une tournee des prisons ontariennes qu 'a effec la troupe en decembre dernier. Un des endro i plus sympathiques a la danse "alternative" est e Dance Laboratorium de Toronto : 52 choregrap ont presente des oeuvres . Selma Odom, ecriva professeur d'histoire de la danse, passe en revue des choregraphes-executants qui y a rece donne un spectacle: Terrill Maguire. Pour la pl d'entre nous, l'Angleterre est le berceau du Royal et l'endroit par excellence. Mais Jan M redacteur de danse de l'hebdomadaire ra londonnien, Time Out, nous raconte l'envers e danse dans ce pays. Et finalement, dans notre sec vedette, Scott Beaven, redacteur des spectacles journal The Albertan, nous donne un aper~u developpement interessant sur la scene de danse Calgary - la creation d'un nouvel organis me ordonnateur-des parrains de la danse, DATACS. Le critique de danse du Toronto Star, Wi l a Littler, l'abondante Elizabeth Zimmer de Vanco u er notre collaboratrice reguliere de Montreal , Suza Asse li n, font rapport sur les diverses act ivi tes l'annee dans leur ville respective , les trois cen tres danse les plus actifs au Canada, dans la secti o " E revue". Cette section met aussi en perspective ville canadienne ou la danse bourgeonne rapide e - Edmonton. Un nouvel ecrivain dans nos pa Lesley Burke, fait le bilan de l'annee la-bas. Encore une fois, Danse au Canada vous rappe que la revue redeviendra entierement bilingue des q nos ressources financieres nous permettron t de faire. •£.Oa-- Spring 1977 Printemps Editor I Redactrice: Susan Cohen Design I Dessinateur: Jeff Cowling Editorial Susan Cohen 2 Parallel Position Elizabeth Chitty 4 Dear Folks Margaret Dragu 7 Editorial Assistant: Michael Kobayashi 15: Terrill Maguire Selma Odom 9 Translator I Traduction: Louise Meilleur The Other Side of Britain Jan Murray 12 Advertising Representative: Gitta Levi Diary of a Prison Tour Andrea Ciel Smith 16 DATACS Scott Beaven 23 Elizabeth Zimmer William Littler Suzanne Asselin Lesley Burke 24 26 28 29 Subscription and Circulation: Orry Danes Special Thanks to I Sinceres remerciements The Ontario Arts Council The Canada Council a: Dance in Canada is published quarterly in Toronto, Canada by Dance in Canada Association. The views expressed in the articles in this publication are not necessarily those of Dance in Canada. The publication is not responsible for the return of unsolicited material unless accompanied by a stamped self-addressed envelope. Subscription: $6.50 per year. Single copy $2.00. The publication Dance in Canada is included with membership in Dance in Canada Association. Danse au Canada est publiee trimestriellement a Toronto, Canada par !'Association de la Danse au Canada. Les opinions exprimees dans les articles de cette publication ne sont pas obligatoirement celles de Danse fW Canada. Le redaction n'assume aucune responsabilite quant au renvoi de materiel non solicite, moins que celui-ci ne soit accompagne d'une enveloppe-reponse affranchie et adressee. Abonnement: $6.50 par an. Prix du numero $2.00. Les membres de !'Association de la Danse su Canada recevront d'office le revue Danse au Canada. All rights reserved. No part of this publication may be reproduced without prior written permission of the individual contributor and the Dance in Canada magazine. Tous drois reserves. II est defendu de reproduire toute partie de cette publication sans avoir prealablement obtenu le consentement ecrit de tout auteur et de la revue Danse au Canada. Please send notification of change of address, subscription orders and undeliverable copies to: Dance in Canada: 3 Church St., Suite 401, Toronto, Ontario M5E 1M2. ISSN 0317-9737. Second class mail registration number 03874. Return postage guaranteed. In Review Vancouver Toronto Montreal Edmonton Noticeboard 32 Photo Credits: pp. 7, 8, Tom Dean (printing: Nelson Carrie); p. 10, Jim Adams; p. 12, Anthony Crickmay; p. 14, Christopher Schwarz; p. 14, Alan Cunliffe; p. 15, Clive Boursnell; p.17, Rinchen; pp. 20, 21, Andrew Oxenham; p. 25, Uli Mast; p. 27, Barry W. Gray; p. 30, Trig Singer; p. 32, Laszlo Szabo; p. 34, Clive Dahl. a Cover/ Couverture: Dancemakers (Robert Desrosiers and Mitchell Kirsch) in Andrea Ciel Smith's Vladivostok. Photo: David Street 3 THE WESTERN FRONT SOCIETY paroe posi~ion FOR IMMEDIATE RE LE ELIZABETH CHITT Y: TERRY MCGLADE Elizabeth Chitty "The Counci l offers assistance to co-operative galleries founded and directed by professional artists to serve the needs of the artistic community . These galleries are characterized by their open, responsive structure, their modest facilities and their streamlined techniques of administration. Their purpose is to provide 'para! lei ' or 'alternate' space· for exhibit ions or art events that do not easily fit within the framework of the well-establ ished public and commercial art galleries." Canada Council Program of Aid to Parallel Co-operative Galleries During the last eight years, artists have been establishing co-operative and /or parallel galleries in most major centres across Canada. To be eligible for funding under the Canada Council's program of aid to parallel galleries, the galleries must "be directed by professional artists", "operate on a co-operative basis with a small, flexible administrative staff with a majority of professional artists'; and "propose a one-year program that could not easily take place in a public or commercial gallery either because of its experimental nature or its low commercial potential". They are fund.ed to varying degrees by the Canada Council, most have other grant sources, and some have private funding. Thei r budgets are modest and vary from gallery to gallery. The direction comes from the artists I directors who of course are influenced by the context of their artistic community: the immediate community and sometimes the "Eternal Network" which connects many of the galleries to one another and to some galleries of similar orientation in t he United States and Europe. Some gallery programs are geared towards local artists and others emphasize touring shows and /or visiting artists. Most of the galleries exist as a collective body th rough ANPAC (Association of Non-Profit Artists' Centres) wh ich was formed in May, 1976 and serves the interests of the member galleries. Currently, 24 alleri es belong to AN PAC . e of the galleries - such as The Photographers Ga ery in Saskatoon - have a specific program :,..,_ e . but most are multi-media. Visual art is the but video, music, theatre and poetry are a - :::,..ese t ed. Dance is surfacing in some of the :: ·a e ;;a leries , and it would seem inevitable that -- ea ore dance artists and parallel galleries er on e anot her's existence. Dance pera e alread y taken place at some of the -e nes ; at A Space in Toronto, for example, s a es , Margaret Dragu, Simone Forti, Toronto dance a perform 11 Lap 11 wit a new work perfo r e of the 11 Dance Art·s Live performa nce relationships wi th from two bases; v· associations fro m established whic h sleeve joining t he their sound gaug in interaction. The v· color, is shown on ing space and in t 11 • • • prepare yo u a tremendously va r · tries to suggest is in the dance sce ne in dancing as in it . ... Interest in from the impact of encounter but its would call the co o on televis i on." TERRY MCGLADE Red Dare both by Toronto dance choreographed by animation and 11 Re 11 11 , February 23February 25Admission-membe r s Archives/ Readings /Music /Exhibi tio Martin Bartlett Catherine Craig, Henry Greenhow Glenn LC\'\ EBRUARY 1977. IZABETH CHITTY, will artist, TERRY MCGLADE, yin Toronto as part es. ity overlaps in various i age. The piece derives s i cal activity and ap 11 • Parameters are e l iv e activity - a ers arms, and whistles, ~er ormers 1 movement and e, pa rt of which is in s placed in the performe ce. r post -modern dance ... e opm ent. What it (the term) e re are people at work e • t so much interested t and the ways we perceive ·ece (L ap) derives not only - ~~r·singly aggressive live s· ion with what McLuhan ~ th e same activity 1 Toronto Star. S1 ow Da z z 1 e 11 a nd : eotapes with performances argar et Dragu. 11 Slow Dazzle 11 , • ·s an experiment in is about the need to perform. 11 vid eo viewing. 9:00 p.m. Y and TERRY MCGLADEerformance 9:00 p.m. o -members $2.00. eo Terformances & Special Events . fetcalfe Michael Morris Vincent Trasov Maurice Van Nostrand Evelyn Roth's Moving Scupture Co., Charlotte Hildebrand and I have all performed within the past two years. Vehicule Art Inc. in Montreal has a dance coordinator on staff. The Visual Arts Office has always been the source of funds from the Canada Council to the parallel galleries, a fact which is sometimes a bone of contention since their programming includes events from other disciplines. At least one gallery has applied to the Dance Office for a small grant, and there is the possibility of the parallel galleries applying for funds on a larger scale from the Dance and Music Offices. The Music Gallery and 15 Dance Laboratorium, both in Toronto, joined ANPAC in September 1976 and their inclusion will likely have implications in the multi-disciplinary focus of ANPAC and perhaps in consequent finding. In January and February 1977 I performed in parallel galleries in Montreal (Vehicule Art Inc.), Calgary (Parachute Centre for Cultural Affairs) and Vancouver (The Western Front Society). With video-artist Terry McGlade, I performed my piece Lap in a program that was followed by his videotapes Slow Dazzle, Red Dare and Alone. Q: Why tour? A: I want to perform my work . Since audiences for very new work seem to be limited, it makes sense to take the work to audiences in other cities. There are other reasons: establishing contact with other artists and meeting people generally, having the opportunity of working in other parts of Canada and the experience of situations and environments different to the ones accessible to you locally. Q: Why the parallel galleries? A: They are there and they're accessible. Most artists thrive in an environment suitable to their work. (For example, I don't want to perform in theatres; my work isn't designed for stages visually or experientially.) I found a compatible environment in the parallel galleries because of the people, ideas and work in them. Q: How did I set up the tour? A: I wrote letters. Plugging into a circuit, such as the parallel gallery circuit, makes setting up a tour much simpler. (I also wrote to some other galleries and one university but they didn't work out.) Q: How was I funded? A: Through fees and /or box office. I lost money. Presumably, if I had had more performances lined up I would have covered costs. (Next time.) I applied to the Touring Office when I realized I was going to lose money but failed to get assistance. Q: Who handles the publicity? A: The galleries do. Some advertise more extensively than others and some have larger audiences as a rule anyway. Q: What was the audience? A: Not a "dance audience". I like an audience in which the patterns of experience and expectation are varied. In general, the parallel gallery audiences do not represent a broad, public group but tend to be composed of people closely connected with the arts. Marcella Bienvenue of Para- 5 chute says: "We seem to have different audiences for different disciplines - a poetry audience, exhibition audience, art performance audience, music, dance, etc. Our largest audiences are without a doubt for the music events. Although we have a core of people who will attend a crosssection of events, our audience is indeed spl it and made up of non-artists as well as the art community here." In any audience in which focus is placed on a very specific interest (such as new, popularly inaccessible work), the question of alienation and elitism is raised. Cuddling into any niche has uncomfortable connotations. There definitely is a politics of audiences. I find some of the pol itics of "audience education" and "art marketing" as suspicious as the politics of performing to an elite group. • New work is generally an urban phenomenon, and the parallel galleries are situated in major urban centres. Although I want to tour, I am not the least bit evangelical: I do not want to take my work to people to whom it is utterly irrelevant and inaccessible. I don't set out to alienate . (I admit this opinion is based ori some general assumptions about "sophisticated" audiences.) The audiences were small; on my tour they ranged from eight to 60 (which is big to me). It does get frustrating sometimes to perform to miniscule audiences all the time. An audience is an important part of the work, not only for reasons of self-perpetuation, but because of the significance of the relationship and communication between artists and audience. The author wishes to thank Brenda Wallace of the Canada Council and Marcella Bienvenue of Parachute Centre for Cultural Affairs for their assistance in the research of this article. MEMO Vehicule - beautiful space and they got us all the video equipment we desired. had an injured foot. it was my first performance out of Toronto, a big crowd, etc. etc. making me very hyper. words in videotape had to be translated into French and effect was not great. should have put in subtitles. MEMO Parachute - tiny space with concrete floor so we lugged heavy judo mats in from judo club upstairs. low ceiling so I have to be careful. small, small audience and talked to some Calgary dancers afterwards. enjoyed the company of the Parachute directors (Clive Robertson and Marcella Bienvenue) immensely. MEMO Western Front - incredible space incredibly equipped. good-sized audience including a critic who walks out halfway through. some contact improvisation dancers think the piece is too violent but some really liked it. performing space is carpeted which dulls the sound of flesh hitting the floor which is too bad. i love Vancouver. 6 PRESS RE LEASE METAMUSIC 14January 1977 8.30 pm $2. non-members $1.50 members The types of music performed by the Montreal improvisational ensemble Metamusic is as varied as the musical roots of the eleven persons involved. Coming from backgrounds of jazz, pop, rock and the classics, they perform using traditional instruments as well as invented ones. Using natural acoustics and electronic processing, the sounds created are at once familiar a new. The group has been exploring forms of improvisation and impromptu structures for four years. The have made tapes for the CBC and recently performed as part of the Forum '76 show at the Montreal Museum of Fine Arts. Elizabeth CHITTY and Terry MCGLADE 15 January 1977 8.30 pm $2. non-members $1.50 members Toronto dance artist Elizabeth Chitty and Toronto video artist Terry McGlade will perform a piece entitled "Lap", a new work presented in Toronto this past November and December as part of the 'Dance Artist's' series held there. Live performance activity overlaps in various relationships with video images. The piece derives from two bases: violent, physical activity and associations from the word 'Lap'. The videotapes (colour and b/w) are shown on monitors placed in the performing space and in the audience. '~-- prepare yourself for post-modern dance ... a tremendously varied development"William Littler, Toronto Star McGlade will show 'Slow Dazzle' and 'Red Dare', two colour videotapes with performances by Toronto dance actress Margaret Dragu. Le Groupe MUD design musical 29 January 1977 8.30 pm $2. non-members $1.50 members MUD is a group of eight musician/composers from Montreal who conceive and create a sound which is broader than that available through traditional instrumentation. This has resulted in the construction of such sound sources as steel-sheets, hydro-chimes, the hum-<irum, the sahabi and others. To these sources are often added electronique processing such as amplification, filtering, etc. Members of the new musique ensemble include Andrew Culver, Charles de Mestral, Pierre Dostie, Chris Howard, Claudette Jette Dostie, Bill Miller, Linda Pavelka, Benoit Sarrasin. The group, which has recently performed at the Montreal Museum of Fine Arts, dedicates all their works to the modern composer, Mario Bertoncini. Deaf Folks Scene One: Me at the age of seven and Papa catching the Ed Sullivan Show on our first television set. We were watch ing some ballet company's stars doing their love pas de deux: my father says (and I remember this very very clearly) - "What is this crap? Why is that guy in the tight pants screwing that girl into the floor - carrying her in the air a few feet - then plunking her down and re-screwing her into the hardwood?" Scene Two: Me (been around hustler/ performer) and the director (another been around hustler/ performer) with a tall, blonde and beautiful writer in the middle of rehearsal for her first performance. We repeat the same thing to er "Be professional have a professional attitude ." Scene Three: e teaching a dance class to a group of guys - filmakers, carpenters, electricians - you know - real eople - "civilians". And they all want to learn how o stand on one leg and stick the other leg straight up i t he air at whatever the cost. Scene Four: I take my lover and two of his friends to see some dance. One guy falls asleep. The other two are baffled and bored - but love the bodies of the dancers . No, let's make that "lusted after" the bodies of the dancers. 11 : 30 a. m. Sesame Street things is just like the others? Which one of these 1. Ballet - My father thought it was just plain dumb . However, I was taught about King Louis and court gestures and esthetics and line and classical line and grace and beauty and history and preserving standards. 2. Modern Dance: My father thought it was even dumber than ballet. However, I was taught that it was new and fresh and experimental and healthy and expressive and just the greatest thing since peanut butter and jelly sandwiches. But I was eventually taught that , although modern dance was all those things, it has to be aware of line and grace and beauty and strong technique and history and preserving standards. 7 • • ff • ". 3. Dancers are much more "M" than "S" except when they become teachers of "la danse". And there is none more "M" than the performer/ hustler who is the show-must-go-on-trouper. The trouper uses the phrase be professional and loves to suffer for the sake of the show - but also loves forcing everyone around into the same crusadng values. Preserve Standards - Be Professional I hate hearing those words and I loathe hearing myself say them. (note: those words are not synonymous with work hard and love your work) Preserve Standards - Be Professional Oyveh, oppression. Dance is the most conservative art because it is terrified of change and wants to minimize experimenting. It is a pale elephant that thinks change is new content and refuses to see that change is really new structure. Dance is a · pale elephant because it is monochromatic. Get a dance company kit - a business manager, a logo, an artistic director, a choreographer, a school, a performance season and some dancers - three females and two males. You can find dancers easily. They are in the audience. And they pretty much all look alike and think the same. They tend to be skinny, whiteanglosaxonprotestants, pretty, with skin as smooth and pale as the yoghurt that they always seem to be eating. They are conservative souls who enjoy repetition and domination. Modern dancers look just like ballet dancers. Dancers look all alike. Usually. But there is much less chance for those people who do not fulfill the physical and psychological standards that everyone is bent on preserving. It is, I suppose, a question of images. In each craft there is a set of rituals and mysticisms which easily become more important than the art itself. 8 5 exists to provide an environment for dance people o are interested in creating . It is a resource facility or at el ier available to dancers and choreographers at o cost. Dancers who wish to work on new pieces and perform them publicly book the theatre for rehearsal and performance times . The theatre has an expense bud get which is given to choreographers to help offset the costs of a presentation. The space is ava ilable to all who wish to use it. No qualitative judgments are made. The choreographer receives 80 er cent of his box-office and 20 per cent goes back o 15. The choreographers are responsible for designing their own publicity and in this way are able t o present themselves as they see fit. The theatre is 24 feet by 32 and seats 41 people. - Miriam Adams, co-ordinator Selma Odom errill Maguire has recently made a group of small gem -l ike dances. Their distinct qualities of colour, tone and structure were strongly apparent in her early March program of four solos and a duet, given in the int imate black limbo of 15 Dance Laboratorium. Magui re opened with Run Ragged, a short steppacked solo set to an elegant piano rag by James Tenn ey. The tuxedo trousers and red suspenders she w ore suggested stylish play, but her white shirt with rol led up sleeves seemed to say, "Get cracking, chu ms, there's a lot to look at here." Maguire was ovin g fast, walking in snappy little curves, strutting, ripping, catching, changing directions a hundred imes. There was the odd thigh slap or high kick, here a fl exed foot, there a head thrown back - accents, surprises - body parts getting carried away but always caught in the nick of time. Finally this witty cl utter of cakewalk memories resolved itself into a sweet waltz of turns, Maguire's arms sailing wide as s e stared at the ground whence her high spirits had sprung . Re-Match, a duet performed by Maguire and Norrey Drumm ond, had a calmer intricacy. At first the two alked in silence at a moderate pace in large arcs. Eventually they made figure eights, which were nct uated from time to time by short sharp phrases i ch we would see again as the dance developed. T ey wore glowing leotards and loose-cut trousers e in rust, the other in royal blue. Their genial, alert separateness was gradually displaced as they were lled ever more magnetically toward centre and then rled out and away from each other. Finally they p n together in the middle and were flung off to osite corners. A new world order: huge lunging e o nters, quick slashing cross-overs and then slow DANCE LABORVORHM: TORONTO --- ......___. ____ TERRILL MAGUIRE M\RCH2-S 1977 9 hip-led leg drags retracing the figure eight, the space now utterly redefined by the action which had intervened. The dancers turned, crouched and then straightened into a new relationship, each speaking with a series of varied rhythmic patterns generated by swi ng ing, stamping legs and feet. Both "talked" at once, achieving emphasis at d_ifferent times and sometimes matching up. The steps seemed like a kind of liberated Bharata Natyam done with calm vertical torsos and quiet arms. At the end Maguire came behind Drummond as their worlds drew briefly into phase. It would have been hard for Maguire to find a dancer abler than Drummond to share in th is dance. Their demeanors and energies were perfectly balanced, yet individual. The dance itself showed the Maguire, costumed in a blood-red leotard and loose white trousers, in Kali: Study in understated terror 10 high value Maguire places on economy and clarity of form: there were relatively few steps but they were persistently, invent'ively explored and performed with radiant intellipence . The third work was the only non-Maguire choreography in the program, Dance for Terrill by Grant ~trate. It brought illuminations of th is singular dancer from an outside source. First she stood still, one leg bent across the other, her arms on a long diagonal. As she gazed at it, one hand vibrated almost imperceptibly. She turned, switched angles, and we saw this gentle tension again. Now we began to hear the Michael Byron piano score, arpeggio-like patterns of great resonance and stateliness. A luminous white curve of skirt came to life; the dancer moved out into space, first lifting into attitudes, then down to the ere she seemed to bask in wonderful rolls and c es, a young odalisque. Up again she made little jumps, slow twists and finally an ed hopping whirl in att itude. Back on the d, she embraced an extraordinarily lifted leg se toes wiggled unaccountably, just once. When eturned to her opening stance, the hand tremors, _.,gh the same, looked different. Last, she did a ;::scotch in a spiral, going faster and faster till she ced to a stop. I saw Dance for Terrill as play, bea t ifully varied play, for a mature yet pony-tailed cer. a Changes, after the intermission, used a tape of a er sounds by Max Eastley. For a long time a ui re, in deep blue, lay on her back, knees bent, a s stretched overhead, calmly moving isolated parts of her body. After tiny curlings and straighten., gs of toes and fingers, her shoulders, elbows, ribs a d hips gradually came to life, arching and twisting, as if she were some sea creature subject to water .ments which grew more and more active. She was e entually swept upright and hurled about; now the ale space seemed to be water. She returned briefly •o her original quiet place before standing rather a::i ruptly - very much like a person - and backing { with her wide blue eyes staring. Perhaps this a sformation and exit, disorienting as they were, sJggested sudden waking from an unfinished dream. T e effect was almost Brechtian. It reminded us that e effortless animality of the dance had been an a ist's creation which hypnotically drew us in. But e ending showed the artist retreating from her concei t and thus removed the audience from itas well. T e last solo also seemed to deal with transfora ions, but in this case they were centrally located e structure of a much longer and more powerful ork. Long after seeing Kali, I learned that its title is e name of a Hindu goddess associated with both :·eation and destruction. This discovery only added an already great fascination with the dance. er his taped composition, Gordon Phillips' live per:: ss ion (glass wind chimes, xylophone, gongs and c bals sometimes stroked by a violin bow) produced s ra ge and wonderfully delicate clusters of sound. ag uire began sitting cross-legged, breathing with d i mpulses in the torso. These grew as she rose up o agitated knee jerks and huge upper body circlings re she was pulled by unseen forces in many :: rec ions. She grabbed herself to a stop. Her head a t o shake desperately but it was actually moving a· most half an inch side to side . At the same time m ed slowly and her hands seemed to claw her ach in slow motion. Her hands stopped her d"s horri ble twitching. This character seemed to rough the pain of her experience to emerge i both mind and movement. More organic g dashes and turns brought her into a new ith her space. She activated great territories er psychic and physical attention, finally u g in to a magical turning in place, her hands a esmerizing pattern of opening and closing, - o- ront, back-to-back. She swayed down to her - egged position on the floor; her breathing a::ceie•a e ; her head snapped up and tossed over to s ... e. he dance was a study in understated a one-woman ritual about the power· of a _...,.,,,.., a sorb any experience, no matter how paineath. I saw it as a dance, though not a e wea i g with matters of life and death - the ar es to death in a person's life, as well as an spirit 's opposition to them. -..-n""' Holding these dances, 15's small arena space nver seemed so unconfining. Bill Brown's lighting and Maguire's choreograph ic imagination made it glow. Maguire danced in every "' dance herself with the modest assurance of a Bharata Natyam exponent. Leaving into the cold night, I realized I'd never se en a Western dancer do what was essentially a_ solo concert before, and I thought of how fully Maguire had shown her work as both choreographer and performer. The audience's warmth reminded me of the special pleasures of viewing Balasaraswati or_Menaka Thakkar with attentive friends. Though I often see the same people watching dance at 15, rarely have-I been so aware of their presence, their response and a sense of occasion . Other Choreographers Who Have Appeared at 15: Anna Blewchamp Jennifer Mascall Martha Bell Judy Jarvis Li ly Eng Peter Dudar Slade Lander Cornelius Fischer-Credo Susan McNaughton Doug Hambourg Patricia White Elizabeth Chitty Louise Garfield Carolyn Shaffer John Faichney Linda Moncur Johanna Householder Jean-Pierre Perreau It Kyra Lober Joanna Anderson Margaret Dragu Cynthia Mantel Barbara Zaccorii Alice Frost Kathryn Brown Jill Bellas Susan Aaron Paula Ross Grant Stitt Janice Hladki Irene Grainger Sallie Lyons Melodie Senger Margaret Atkinson Susan Daniels Ernst and Carol Eder Nikki Cole Peter Boneham Paula Ravitz Charlotte Hildebrand Nancy Schieber Keith Urban John Miller Maxine Heppner Robyn Simpson Brenda Neilsor:, Lu Levine I Doug Ord Holly Small Joan Phillips Ingrid Remkins 11 William Louther Dance an d Theatre Cor Poration 12 i nk that everybody has to go through all that e and Graham training seems to me ridiculous." earning what to teach now, I have to search the techniques I know t o f ind certain body s, as opposed to part icular extensions in one tion or another." (Speakers at an open dance erence held in the X6 Dance Space in London, s• August.) has become obvious that al l art becomes bogged n in a cul-de-sac if practised by those without any rong disciplined training." (From an editorial by eter Williams, chairman of the Dance Theatre Subm mittee of the Arts Council of Great Britain, in the ovember issue of Dance and Dancers.) e comments above encapsulate just one of the a eas of heated debate between exponents of experimental dance in the UK and what they consider be the arts establishment. Others, inevitably, revolve around funding (short-term project grants as pposed to ongoing revenue grants given to only 10 mpanies), the supposed lack of informed assessent of explorative work, the shortage of rehearsal s ace. the decade since the London School of Contemorary Dance was founded to spread the gospel of St. artha throughout the UK, there has been an astonishing increase in the number of people who ish to devote themselves to broadening dance orizons . Unfortunately, the rise of the movement has coi ncided with Britain's economic downfall. So where do those who have completed three or four years ' ra ining at The Place (home of both the LSCD and the ondon Contemporary Dance Theatre), often topped p by further study in New York, find a niche in Britain? Some 200 young people are so qualified yet it h only two major modern companies - the other s t he Ballet Rambert - there are few openings for erformers. ew openings for contemporary technique teachers oo, although the demand is growing in the regions. Britain lacks the university dance circuit that keeps so any artists emp loyed in America, and the vast ajority of specialist schools concentrate on lassical ballet. Unemployment benefits are poignantY sma ll (something like $20 per week, plus a percentage of rent if you haven't already been forced into uatt ing); support for dance research is almost nonexistent. an attempt to challenge these "regressive factors", : e Association of Dance and Mime Artists (ADMA) as set up late in '76. By press deadline the group a fewer than 100 members, but a questionnaire irculated among them indicated that more than 1000 ormances had taken place during the preceding ear at an average subsidy of 17 pence per ic ipant per show! ADMA sees itself as a collective tical lobby, so anyone willing to pay a small fee ·oi n. At a recent meeting with representatives of e rts Council, ADMA delegates flatly rejected a gestion that the organization should operate as an el la' to promote selected groups and d als, even though dance officer Jane N icholas ed hat there is not enough money to cope with ber of applications made - and that subg more companies full-time would mean a cut reographic commissions and project grants. s e e fewer dancers would receive assistance, Yet ADMA has instructed its members to appl y fo r a basic 'wage' of £ 45 (about $90) per week (highe r t han the current Eq uity minimum) and that all gran ts be made "at a real ist ic level and for a realistic length of time" and where necessary, on a revenue basis. Deadlock , at least for the time being. There are, however, glimmers of ligh t in the tunnel of experimental movers. The Arts Council panel hopes to raise the percentage of funds given to new dance - this financial year it was only about three per cent of close to £ 3 million, and is encouraging the regional arts associations to do t he same. Already the enterprising East Midlands Arts has created its own modern unit, the EMMA Dance Company, directed by Gideon Avrahami, a long-time principal with Ballet Rambert. The five dancers are much in demand, for lecturedemonstrations, open classes , workshops and performances. Such is the ir commitment to the region that they did not make t heir London debut until March . Geoff Moore's pioneering multi-media Moving Being has shifted from London to the attractive Chapter Arts Centre .in Cardiff, while Janet Sm ith runs a lively little group in Leeds. The Cycles Dance Company works out of Warwick, the education&! East Anglian Dance Theatre out of Suffolk , and Dartington College in Devon currently has Steve Paxton in residence, doubtless an inspiration for the innovative ensemble there, led by American Mary Fulkerson. And, of course, there are a variety of university and amateur groups scattered around the country, not to mention Scottish Ballet's modern wing, Chance Dancing, which has been known to perform in pubs. The Greater London Arts ~ssociation is classified as a regional association too and its dance panel has developed a small-scale touring circuit in t he outer boroughs. This has not only led to the creation of new dance venues, but so far provided employment for five different soloists (including a fine Indian classical dancer, Tara Rajkumar) and companies. Most performances have been accompanied by participatory workshops, which have proved extraordinarily popular. It seems that the new dance publ ic wants to be physically involved and is not content to sit back and gape at the spectacle. An expression of th is move towards open, communal movement work is exemplified by the approach of the Natural Dance Workshop. In events like all-night dance 'marathons', weekend sessions in 'dance as collective creativity' or 'sensual dance', co-directors Jym MacRitchie and Anna Wise have developed an enthusiastic following. The other main trends within the area are exploration, sometimes defined as 'performance art', and smallscale versions of the London Contemporary Dance Theatre, with performers and choreographers being offsprings of the Place. Two such troupes are currently based there - Junction and the Extemporary while the all-woman Basic Space, led by Shelley Lee, and the resuscitated Dance and Theatre Corporation (originally the Welsh Dance Theatre) under the starry direction of William Louther, operate seasonally. The Oval House youth centre is home for Another Dance Group and the newer Moving Visions - the latter is essentially a duo composed of Nikolaistrained Sue Little and ex-LCDT principal, Canadian Ross McKim. Another tradition-oriented company is 13 Dance Theatre Commune, though in this case the basic impulse comes from the Wigman School, rather than Graham, Cunningham or Nikolais. The centre for experimental work is the X6 Dance Space , run by a collective of five ind ividuals (Emilyn Claid , Maedee Dupres, Fergus Early, Jacky Lansley and Mary Prestidge) who have just produced the first issue of a quarterly magazine New Dance. Their big stud io, a converted warehouse on the south-east side of the Thames, is the main venue for performances by their members, both solo and ensemble, sometimes with guests, daily classes in dance and gymnastics , open conferences and (radical) workshops. All the X6ers have been professionally trained, three in ballet as well as contemporary techniques, while exRambert Mary Prestidge was a member of the Olympics gym team, but they are committed to the breakdown of conventional dance definitions and processes. In practise this means that some of their performances take place al fresco, like a day event called By River and Wharf while colleagues have appeared in a deserted house in posh Belgravia, libraries and the Orangery in Holland Park. The five were aI$0 instrumental in the formation of ADMA, although the association operates from the Drill Hall, the artist-run centre, situated in London's main university area. This well equipped complex has presented a number of new dance performances, regular t'ai chi and workshop sessions (t'ai chi and release work seem to be the over-riding preoccupaCanadian dancer Ross Visions Dance Theatre McKim, co-director of Moving Fergus Early, one of the founders of the X6 Dance Space tions of the exerimental circuit along with increasing involvement in video and film) and will host a two-week ADMA Festival in the late spring. Other important dance venues, off the mainline, include the exciting new Riverside Studios in Hammersm ith, where the Rosemary Butcher Dance Company is hoping to find a base; the Inner London Education Authority's centre, the Cockpit; Jackson's Lane Community Centre in north London (all its dance events have been s.r.o.); and, occasionally, a range of outer borough theatres like the Questor's, Stage One, the Battersea Arts Centre and the Tramshed in Greenwich. This list is not exhaustive, but neither is the line-up of companies mentioned so far . What of the liturgical group, Cedar of Lebanon, the just formed music and dance jazz ensemble Sun Sum, video dance groups like those run by Mary Sheridan and June Marsh, children's companies like the Dance Drama Theatre and Dance for Everyone, ethnic units like Steel and Skin or Adwe? All these display a prime commitment to some form of modern movement, as opposed to historical dance groups like Nonsuch, 'classical ' chamber companies like the Alexander Roy London Ballet Theatre, not to speak of the myriad mimes around town. (The Cockpit's month-long Mime Festival was a complete sell-out.) Then there are the varied folklorico and student groups, several of them verging on professional status and the whole grey area of 'performance and conceptual art', which involves so many of the fringe dancers. The problem that dogs all these groups, other than the space/status/funding difficulties outlined above, is to hang on to their better performers. The Extermporary, for example, made a notable debut at the Edinburgh Festival in 1975 with a strong cast of LCDT graduates. When it re-formed late in 1976 the 14 of the Extemporary Dance Group in trio of 'principals' had departed, leaving them in a sadly weakened state. Junction, which gave its first public performance in January this year, with an entertaining program that included two polished works by Canadian Anna Blewchamp, lost all their best dancers immediately after appearing in t he prestigious Camden Festival in March. Co-directors Kris Donovan and lngegerd Lonnroth say they are not worried, but choreographers become very upset when they see their works remounted on a different perhaps i~dequate, set of bodies an understandable attitude . Such comings and goings lead to grumbles among critics and funding panels about erratic standards, but the fact remains that uninitiated audiences seem to enjoy most of what they see (and /o r do) regardless, and anyway the leading practitioners of alternative dance have no truck with traditional criteria or judgments. Thus the progressive movement scene in Britain today: fragmented, in danger of becoming overpopulated yet undernourished in strong technicians, argumentative, often derivative. Yet the new spirit of collective action augurs well for its future, and sympathetic members of a growing public, combined with new dance venues, provide a stage for its diversity. Above all , it harbors a bevy of bright young talents . 15 Andrea Ciel Sm ith Ed. note : Dancemakers is a modern repertory company based in Toronto. Its members at the time of this tour were Carol Anderson, Robert Desrosiers, Noelyn George, Mitchell Kirsch, Patricia Miner and Andrea Ciel Smith. When Dancemakers was formed three years ago, one of the important ideas that we discussed was performing in spaces other than the tradit ional. Our first performance was a street dance; but after that, for various reasons, we ended up in theatres and only in theatres for the next two years. This year again we emerged from the conventional theatre space for more than half of our 100-odd performances and trucked to our audiences instead of expecting them to truck to us. The two groups we travelled to were inmates in prisons and children in schools. We approached the Ontario M instry of Correctional Services over a year ago with the idea of touring prisons. We were sent to the Volunteer Program Branch, the function of which is to involve the community in the institutions and in probation. They were immediately supportive and eager to try dance in the institutions. Financing was a problem. The only official way we could go to the prisons was as volunteers; so we decided to apply for a $4,000 grant from Wintario (a lottery-based granting program in Ontario) and to raise a matching sum ourselves (fat chance, we knew, but worth a try). As a matter of fact, despite many fund-raising efforts, we started the tour without any idea of where the money would come from. A few weeks later the Laidlaw Foundation came through with $2,000, for which we are extremely grateful, and Wintario gave us their grant just a few weeks ago . There was some trepida~ion about the project. What would be the inmates' reaction to men dancing? Would they just be looking at the women? (We were advised to wear bras so as not to stimulate the men's imagination and I put one on for the first t ime in four years.) Would they find the whole idea of dancing nonsense? We were warned that they were a difficult and demonstrative audience; they could eas ily get rowdy, make cat calls or just walk out en masse. With this in mind, we set up a deliberately light, entertaining and energetic program. We included a percussionist (Chris Faulkner) because this would spark us as dancers and also provide a bridge to popular culture for people who hadn't seen dance before. 16 The format was informal and consisted of six main sections: a six-minute version of a warm-up, with standing work in the centre moving into several combinations across the floor; then two works from our repertoire, an improvisation and two more dances. After the warm-up, we introduced ourselves and the company, and before each week, explained some of the ideas behind the dances. The first piece was Gal/iard, a classical duet for a man and a woman choreographed by Barry Smith to music by Vivaldi. I choreographed the second, Vladivostok, two years ago for a male couple. I introduced it as an energetic dance that has no music but a number of movement themes: using movement anyone can do (running, jumping, reaching, throwing, etc.); trying to do impossible th ings (like pushing your feet into the floor); creating jokes with movement; and playing with the competitive spirit that often exists between men. The improvisation, next on the program, had guidelines that changed daily. Usually, there were four or five activities (jump on one foot, make faces, stop someone else from doing whatever they're doing, be an airplane, ran backwards) which the individual could vary according to duration and direction. Just Passing Through (this title often got a laugh from the inmates) is a playful dance by Naomi Kirschenbaum to music by the rock group Gentle Giant. A choreographic theme that we pointed to here was the use of circle in floor patterns, in arm, leg and head motions. One section that always provoked laughter was a mock, slow motion fight between Carol and Robert . The last work, which I also choreographed, was for the whole company; of the four sections , the first two were in silence, the third used clapping, and the fourth was accompanied by a country and western song sung by Linda Ronstadt. After the show we made ourselves available for questions or discussion. Know ing this to be an unusual tour, some of us decided to keep diaries. What follows are my impressions, experiences and gut reactions at the 13 institutions we visited. December 2 First day. Truck crowded with equipment, costumes and us. Lots of wriggling into place. We're travelli ng towards an unknown audience. Anticipation created by entering a part of society with which we normally have no contact. Probably the thought is more threatening than the reality. e arrive at Sprucedale, a training school for boys 16. It's in the country, as are most of the institu·ons. No guards, the grounds are large, no apparent ences. We find the office, check in with security and a e led to a huge gym. We decide on a performance s ace in a corner and arrage mats and benches to e close it. We're nervous. Decide to start with a bang - we wait around the corner, Chris starts with a solo the congas arid we dash out to start our warm-up cue. For me this alleviates the zoo problem: us s aring at them, them staring at us. Eight tough-looking guys are sitting along the side a d as we raise our arms for the first exercise in the warm-up I hear: "What a great view!" The half of my body they can see tingles with vulnerability, especially my female lumps and bumps. At one point Carol is waiting near them during a dance and starts talking to them . 'Brave!' I think. I begin to relax and to realize, as their faces betray an involvement beyond their comments, that this is probably just an acceptable way of expressing, among their peers, a reason to keep watching. A row of little kids lie on mats in front of us, the ir heads resting on fists. I look at their faces and wonder: 'What on earth are the stories of these lives?' Many are here because their parents are criminals, abusing and neglecting them. These children are disoriented, insecure, full of learning handicaps , and the final solution in our society is to dump them in prison, even if it's called training school. There are only a few questions afterwards and then they invite us to visit them in their lodges. I am still pretty nervous about the contact, not only because they are inmates, but because they're strange people in an age group I've had practically no contact with. They show us around and get together a group to talk with us. They're involved in a behavior modification program. About 12 boys function as a unit, living and attending activities together. They have group meetings every day in which they discuss their problems and behavior with the help of a group leader and a written guide that breaks down behavior into destructive and constructive categories. My impression is that having a vocabulary, being encouraged to admit and discuss problems, helps them feel oriented and gives a greater degree of choice and control in behavior. They are all responsible to one another and anyone can call a meeting at any time. If they go to town on leave, three boys must be together so that if there's trouble, two might be able to exert a positive influence. The group also decides when a member can "graduate" from an institution. Was impressed that even this much work is going on, but I can't help thinking that labelling behavior is a shallow approach. Some of them looked so messed up, their faces and eyes reflecting the cfisorder of their minds. Just to describe behavior couldn't help much; they should know why they behave as they do. They'd have to understand their pasts and themselves. A lot of wounds would have to be healed. Still 17 I am beginning to see how important a role-model is . My parents provided fairly structured positive examples for me to develop from. These kids founder because they don't know ways of behaving and coping. Evidently, one important function of volunteers in the community is to provide just such examples. and leads us to a large building. Guards turn up, open some doors and direct the van in . We back up into a huge space. Chairs are set up to one side. We look at the chairs, the wet marks the van has left on the concrete floor, and each other. Feeling like the circus act in which 20 clowns pile out of a car, we deposit ou rselves on our performance area. Afternoon to Glendale. The building is more modern and basic institution-like looking. Could be a high school. (Sprucedale was an army barracks in WW II.) Perform in a gym again, but a more congenial size. There is a stage but it's too small - also we like the informality of being on the same level. The building, we find out, is an old airplane hangar from WW II. It's freezing and dirty. We change an d start warming up in a small and somewhat warmer equipment room. We'll have to do this one in socks and turtlenecks. By some stroke of luck we have just the right number and colour. Part of the room is a semi-circular wall of windows and as we're warm ing up the inmates file by on their way in. An eerie feel ing of being caught and watched - a moment of reversal . About 70 men, between 17 and 24. I am nervous and shake during the warm-up, but as I see their involvement grow, I relax. Am only in first and last pieces, so I have time to watch them as they watch us. As I had hoped, the sheer output of disciplined physical energy creates involvement and interest. The men's faces begin to open up, they smile, and some lean forward in their chairs. During the talk, it becomes apparent that the men don't like speaking out - are not used to taking the attention of the whole group. Three or four discussions eventually start happening. Some of them are enthusiastic and ask lots of questions. Others don't say a word, but listen and follow the conversation. The questions are typical of people who don't know much about dance. Do we get paid? How much time do we put in each day? Is it our job? How long do we train to become professional? One man is brave enough to ask Robert and Mitch if it doesn't make them feel "fruity." There is laughter and Robert answers, "No, I like dancing and I just do it." Going back to Toronto, seeing the buildings come into view, I realize how much of Ontario's economic and social structure I don't know. Toronto is outside the norm. Many of these men are from small cities or towns which depend on mining or a single major industry plus small businesses. The spectrum of awareness is smaller, closer to basic functions and the needs of living, and the outlets for energies are fewer than in a big city. December 3 Drive into Burtch Correctional Centre. No one in sight. Drive around. Police car eventually drives up 18 Hard to keep your cheer up during a performance in which you see your breath hang in the air in front of you. Robert slips and falls during Galliard. He stops dancing and sort of wanders trying to find his place while I'm looking from the corner where I'm waiti ng for my cue. The absurdity of the situation strikes me more than anything else and I laugh through the res t of the piece. A number of men really enjoyed themselves and o ne hangs around afterwards . He's quiet but seems to really want to make contact. He's from the area and has only a couple of months left. Probably in on a drug charge. Watch him wave as we leave. December 4 The psychiatric ward at Guelph Correctional Centre. After twisting and turning through the city, we approach a huge old stone building set in large grounds. We park about 100 yards away. It's snow ing and the building is set off against broad white fields . We walk single file, myself at the end, absorbing t e quiet picture of six walking dark figures, the white snow and the grey building. We are kept waiting at reception. There is some m ixup with the official who is supposed to receive us . Eventually we sign in and are admitted through t locked gates to an area where we must wait again f r a dolly for the equipment. Some guards are hang i around and something in the air puts me on t e defensive - am I paranoid or are they making co ments among themselves about us? Their eyes kee glancing at us. I imagine their scepticism i a prison, huh?" "dancers December 6 We are finally led through another door that slides shut and locks behind us . It makes being here so etinite . I feel strange, slightly freaked out by all this iron between us and outside . The reality of bars akes us al I uneasy. I've always wanted to be active politically and socially. It's hard to do that usually . But now on this tour I feel whole - no need to suffer the dichotomy of hours working in isolation, then dashing off to the theatre to perform for abstract masses spread out somewhere past the edge of the stage . My quest ions about dance as a way of life subside. We choose to perform in the weightlifting room. It's a rectangle with a semicircle, about 15 feet wide, curvin g oft one side. We make that our stage area - the room is pleasant and light with windows all along the side witfl the semicircle. The space is so tiny, we take two people out of the warm-up. You can't travel in t hi s space; everything becomes energetic up-anddown movement. Maplehurst, a "model" inst itution. New, functional , but colourful, a school with well equipped workshops for auto mechanics , furniture building, wood working, metal working, printing, refrigeration / air conditio ning servicing; they also teach regular high school subjects and hold seminars on " life skills" to encourage healthier ways of communication, of identifying problem areas and finding solutions. he men come in, about 25 of them, and we wait behind an impromptu screen we've made from mats. Very nervous - this is the psychiatric ward - we've been warned that anything might happen. Once again t hough they are caught up and attentive. For me, an exhi larating experience. We are not performing for inmates here, but for 300 of the 4,000 volunteers working in Ontario (five years ago there were perhaps a dozen). We hope to erase some scepticism about dance in the prisons . Enthusiastic applause at the end, but when we come forward to talk , there is a long silence. They are obviously uptight and worried about their images. Finally, someone at the back gets it together to ask: "What kinds of questions do the inmates usually ask?" We laugh and Mitch calls out: "They ask us what the volunteers ask." This breaks the ice and they proceed to ask us exactly the same sort of questions the inmates ask. During the slow second movement of Galliard Robert lowers me to the floor and unexpectedly I am nervous at th e nearness of all these institutionalized men and th e suggestiveness of the movement. I mutter quickly o Robert that I can 't go through with the choreogaphy . We turn what was supposed to be a tour-bar hrase of me lying on the floor into an on-the-knees provisation. I give a lot of exuberance to the last ovement to atone tor my cowardice. e situat ion is int i mate, the exchange direct. We see pie smiling , tapping their fingers , moving with the sic - the most sensitive audience we've had. They are ery appreciative and thank us a number of times. e obvious emotional disturbances. - stuttering, bl ing talk or physical quirks. The man who said e ffi cial thank-you is huge and has some horrible s and bruises , probably from a tight. We stay and for qui te a wh ile. They have lots of questions us, t he dancing, the music. a t er room we look at some of their art work. drawin g of a violent and explicit abstraction ed lines , knives, breasts . Symbols of anger, r. sex. Another small drawing is a self-portrait er cit ied , with an incredibly sad and defeatedace. One woman tells us after that she and her husband go to Burtch every Monday for a talk session with some of the boys. They tell her things they have never told anyone else - their anger, hurt, bad memories and experiences . She is obviously committed to them and I am touched by the strength of that commitment. She says how wonderful it is that a boy who several weeks ago was too shy to speak now hugs her in greeting. December 9 Two totally different performances. One at Oakville for a noisy group of 14-year-olds and one at Vanier for women. Oakville is a maximum-security assessment centre: the kids are sent here before they go t o other institutions. It is modern, like any public school in its setup; but once you're in, there is practically no way to 19 get out. We are told that the kids here are often disoriented, in a slight state of shock, because this is often their first contact with an institution. I try to imagine being 13 or 14, being escorted here in a po!ice car, walking to the door with a policeman on either side of me. Feelings of terror and helplessness. We see lots of bravado that probably disguises many other feelings. The kids at Sprucedale had told us about Oakville. They hate it and the picture we got was of a nineteenth-century hell-hole. I guess this reflects their feelings on first being imprisoned, accountable to locked doors, to guards and to adults who wield a tremendous amount of power. The 14-year-olds are completely self-conscious and sex-conscious. They talk all through the performance. Distracting. But at least their eyes can pick up someAndrea Ciel Smith in Gal/iard 20 thing while their Apparently they are of their gatherings, around and fight. attention. mouths move. No questions. relatively wel l behaved; at most they not only talk, but also run We must have gained some Vanier is next. Guards admit us and we drive around the dorms to the gym. No one in sight. Just flat ground and buildings. A television crew is present at the performance. I find that distracting - the lights make it hard to see the faces of the women watching. They are attentive and quiet. Can make out smiles and catch eyes now and then that are friendly. General atmosphere of solidarity and support among the women as compared to the men. A much more peaceful feeling. Some obvious lesbian relationships. erwards we have coffee together and mingle. I se sea lot of appreciation. Real ly fri endly. People are people are people. st of the women are in for fraud , petty theft, prosti on. I wonder about "norms ." The set of behaviour tterns that make you acceptable. And then agai n ut the Utopian extreme, the healthy creative iety within which each person has many channels r living and expressing himself without harming ers. December 13 isappointing day. Me hungover and zonked arty last night. Made mistake of doing the first n a stage. Created too much distance . A audience and the contact should have been ore vital. from show good much We have become used to the program and therefore slightly detached f rom it. Or perhaps I should say that the familiarity allows us to run through with less invo lvement if we're not careful. Amazing how we must always seek readjustment - a new level is demanded as soon as t he old one is absorbed. The performance at the girls' school was good, but they are at a giggly, self-conscious stage that leaves us slightly dissatisfied with the contact. Little discussion afterwards . The girls are in for various reasons truancy, unmanageability, ways of acting out their frustration, discontents, anger, of showing they need help. Seems wrong to lock them up when the parents, who often share in creating the problems, go unhounded and unchanged. How amazingly unjust. The child ren can 't speak for themselves, their accusations wouldn 't carry weight , so they are the ones who end up in t raining school. What a name - as if they're dogs who must be taught not to mess up the rug. December 14 We start out for three days on the road. Five-hour drive tonight and three performances tomorrow. Have to start psyching up now to get through it. December 15 Morning and afternoon at boys' training schools. Younger kids again. Their energy is so different. Feel that they test us much more , are more likely to dismiss us or make fun of us. Evening. Our first contact with real maximum security. To enter the main part of the institution we walk from reception to a small corridor enclosed at either end by bars. One set slides open. We walk in. They whir closed behind us and then the other set slowly opens. The operating mechanism will not allow both to be open at the same time. The experience is disorienting , like walking up a stalled escalator or travelling in an elevator and then getting out on exactly the same floor. We enter another small space. A man sits in an enclosed booth, a large lighted panel in front of him mapping all the corridors, rooms, entrances and exits in the institution. He's the one who's been pushing all the buttons to let us in. We move around the booth and through a final set of bars. The largest open space is a tiny chapel. Behind the pews hangs a punching bag . The room doubles as a recreation centre. No recreat ional facilities were Quilt because the institution was originally planned to hold inmates for only a week or t wo until they received a sentence or were sent elsewhere . But it has never served that purpose alone - many inmates have spent months here. We set up the space and end up having about 20 feet in length and 12 feet in width. Drastic spacing changes are quickly mapped out for each dance. Last time we were squished , we moved up and down; this time it's forwards and backwards. The last dance is flexible and one couple ends up doing what three usually do. Before the show I go to the washroom. It has a small window at eye level through which the guards can check up on prisoners. The 25 men who are watching the show are older and seem more together than our previous audiences. Or 21 perhaps it is the small number and strict environment. After the show the recreation director congratulates us, assuring us that he is amazed at the inmates' response: "These guys are a tough bunch - they even boo Christmas carols." I feel that our presentation helps win them over - and we are all basical ly honest people and are not here to deliver a message or lay a trip. After the show we are invited to tour the place. The guard leads us down a corridor and through yet another set of bars into a large octagonal room with a glass guard-booth in the middle. Opening off each side of the eight sides are rooms with bars over the entrances. My mind registers the scene - there are men behind those bars. I am horrified and ashamed at their humiliating position and at mine. I dash out, Mitchell Kirsch in Vladivostok tution and after we mingle and t alk for quite a whi le. Overwhelming and wonderful. December 17 An an ti -climax. Young kids again and ey j st aren't appreciative. We pack up quietly and ead o t f r t e five-hour trip back to Toronto and a week's ol a . This dai ly account came purely from observati on a d emotional reaction and I have since checked out the validity of some of those reactions. For instance , the cold bleak airplane hangar at Burtch left me with the impression that it was one of the most depressing places on our tour. However, on talking with a Volunteer Program Official and after another visit, I found it to be one of the more modern and considerate inst itutions. My gut reaction had been a mixture of pity and empathy for the inmates and anger with the system and I was glad to have this tempered by a rnore rounded view of the situation . The experience helped to solidify my thinking on prisons: I do not believe in punitive retribution. I do not ignore the fact that there are some dangerous people who should not be loosed upon society. But our tour - of institutions for sentences under two years - made it clear to me at least that incarceration is not a cure for unlawful behaviour. Positive experience, rather than negative, changes behaviour. Removal ' from the community also removes the chance to develop a more acceptable relationship to other people and brings the inmate into contact with others whose behaviour is equally anti-social. Frequently we heard younger inmates brag about their crimes in order to impress their peers and, I assume, us. According to statistics, two-thirds of those behind bars now will be back one or more times. feeling sick to my stomach, and wait for the others in the corridor. On the way back out the guard points out solitary confinement to us. I look through a window in a door and can see a person hunched over on a chair, in a tiny bare room, wearing a strangelooking tunic. Again a feeling of revulsion at seeing a human being like an animal in the zoo. He is there because he is giving testimony against some of the other inmates and if he is left in the cell block he will probably be killed. The tunic is asbestos, a material which cannot be ripped and used for a noose. December 16 The usual drive in, find someone, be led to the performance space, unload and set up. Make a large arc of the chairs. This is to be our largest audience, about 150 men. We start the show with lots of energy and enthusiasm and the response is immediate and enthusiastic . After the warm-up, Mitch introduces us as usual, but the men unexpectedly clap for each of us. We're all smiles and slightly embarrassed. They keep generating enthusiasm and we get higher and higher. During the last piece to country and western music, they're clapping and stomping and it all turns into a standing ovation and demands for more. Hard not to comply and we repeat the last piece and then beg off 'cause of tiredness. It's a loose insti- 22 The volunteer program, of which we were part, attempts to create interchange between the inmate and the community to provide positive role models. It also demonstrates to the community that people who break laws are still human beings and deserve humane treatment. The tour reversed the expectations of officials. They thought the younger inmates wou Id in joy it more; we found the mature prisoners a more appreciative audience. The officials felt that Vladivostok, a dance tor two men, would be provocative material; instead all the inmates enjoyed it thoroughly. We were warned to expect the worst; it never happened. We didn't pretend to be missionaries and we do not pretend that we suddenly opened up a new world to inmates or officials. We set out to be, and perhaps could only be, no more than a break in their daily routine. But I know also that the tour made us less fearful of people in prisons and that they, in turn , were surprised that dance hand something to say to them. Seo tt Beaven " American lives," F. Scott Fitzgerald .scribbled in his notebook for The Last Tycoon, "have no second acts." Fitzgerald may have been writing about spiritual artistic lives as much as literal, physical ones: any playwright will tell you that the second act is more difficult to complete than the first or third, and any author afflicted with the need to write a trilogy will recall how the second volume nearly destroyed the project. If creators wrestle with a follow-up nemesis, so too do those who sponsor creators. Case in point: Dance and Theatre Arts Calgary Society, shortened to DATACS, an acronym that looks like it should belong to an ITT subsidiary manufacturing computer software, was founded in the wealthy Prairie boom town in 1975 and held a fu I I-scale press conference to announce itself and its activities in September of 1976. It planned and presented a five-event season, bringing to Calgary Montreal's Entre-Six and initiating performances by several groups already located in the city, including the Calgary Early Chamber Music Ensemble, the Arete Contemporary Mime troupe and Patchwork Puppets. In most cases, the performances sponsored by DATACS would not have taken place in t he absence of the organization. The DATACS experiment, which is, as far as anyone knows, unique in its outlines, was hai led by the local press even as its imminent demise was predicted (in Calgary, as in most other Canadian cities, the appearance of any new arts-related group is applauded on t he one hand and dismissed as an ephemeral aberraion on the other). Reception of the individual events in t he most recent season varied but was in general favourable. The Arete Contemporary Mime troupe proved to be the hit of the season, calling forth superat ives from desperate local critics who usually el ight in disagr~eing with each other. ATACS began with the discovery that six local dance grou ps were striving independently to import the sam e dance company. Why not combine into one brella organization? Founder Robert Greenwood, a r fessor of drama at the University of Calgary , re embers that "we started losing our shirt right off" a d today that article of clothing is lodged none too ec rely on the collective corporate back; DAT ACS e d ed t he preceding season with a deficit, a gap eful ly to be covered by an Alberta Culture Grant yet received. aunted (when facing second acts - which is · to hen facing premature burial - confidence is para ou nt) , DATACS is projecting an income expen- diture of $60,860 for t he next season, predicated on receiving inter-alia $2,500 in corporate donations, $2 ,000 from the University and $24,394 from the Calgary Region Arts Festival. If successful in obtaining the needed funds - there is no rational reason they should not be granted - the projected entertainment agenda would be one of the most exciting the city has ever seen, not only because the arts groups are exceptional but also because each would conduct workshops and/or school performances. Calgary citizens would benefit indirectly, through viewing the performances, while Calgary artists would benefit directly, by having t he opportunity to work on an intimate basis with some of the country's leading creators. The DATACS experiment also holds incalculable significance for the rest of Canada, opening as it does an ent irely new market for the nation's artists, as well as making the log istics of touring easier. It should be stressed that the activities of DATACS in seeking and sponsoring talent are not designed to conflict with the Canada Council's Touring Office; they are designed to augment and complement it. For 1977-78, the emphasis is once again on dance: DATACS proposes to invite Menaka Thakkar (Hindu dance/music, Toronto), Le Groupe Nouvelle Aire (contemporary, Montreal) , Contemporary Dancers of Winnipeg, Regina Modern Dance Works, Entre-Six (ballet, Montreal) and Shumka (Ukrainian, Edmonton). Added to that impressive line-up are Toronto's Canadian Brass , Calgary's Arete Mime, complemented in a separate performance by Toronto-based mime Paul Gualin, Montreal's ThMtre des Pissen Lits for children and Toronto's classical music group, Camerata. A few - one or two ,- of these groups might make it to Calgary if DATACS did not exist; to imag ine t hat all of them would is to inhabit a dream world. Calgary has battled for years a number of pejo rative appellations - Cowtown, "the most American city in Canada", "the place where they think Chet Atkins is high culture" - that have not been entirely without justification. But the city has reached· a turning point and it is no longer possible to see this sprawling, burgeoning metropolis merely as an aggregation of Canadian rednecks who will be satisfied with the latest Merle Haggard electrified belch. On a recent weekend, 600 Calgarians drove 75 mi les through the snow to Banff in order to attend a recital by pre-eminent Chopin interpreter Malcuzinsky; there ha'lle been country-western concerts that have attracted a smaller audience . Not many concerts, of course, but some. 23 (Ed. Note: The major performance centres of this country are Vancouver, Toronto and Montreal. In th is issue, the magazine welcomes contributors who provide a year-end wrap-u p of dance activities in those three cities. In addit ion, In Review focuses on another city where dance is growing - Edmonto n.) Vancouver Viewers of the Vancouver dance scene in 1976/77 had, as a general rule, less fun than participants in it. For doing, opportunities abounded, most notoriously at Sofia, a folk-dance restaurant, and in workshops on Contact Improvisation, as well as dozens of classes at schools and studios all over the Lower Mainland. The sitters and watchers got, on the whole, less dance and less variety than they did last year; injury, immigration and childbirth hampered the availability of some of our top performers. The diehards, and a few newborns, struggle on, making new work, rehearsing new companies, touring the province, hunting for funds . A score of companies and a few solo performers have crossed our stages this year; as this article is written, several local groups are preparing their major spring seasons. David Y. H. Lui, the city's prime mover of touring dance attractions, last month announced plans to form a professional ballet company by importing stars and hustling a $2 million endowment from the business community. He calls this his last effort to establish professional dance in Vancouver and hopes the company will be operational by the spring of 1979; no names are available yet as candidates for the artistic director, but Lui himself plans to manage the company. Lui's entrepreneurial efforts this year brought us Roland Petit's Ballet de Marseilles, featuring Karen Kain miscast as Carmen; and the Royal Winnipeg Ballet in five performances of the Neumeier Nutcracker, an elegant production enthusiastically received, but with grumbles about the unavailability of the rest of the company's repertoire. Les Grands Ballets Canadiens brought strong performances of some· remarkably trivial choreography and shakier renditions of acknowledged masterworks. Replacing the Pennsylvania Ballet, which broke its contract to appear here, Lui assembled a Ballet Gala, eight soloists from across the continent performing pas de deux in a variety of styles, from August Bournonville's (Adam Luders and Colleen Neary, of the New York City Ballet) to John Butler's (Lawrence Rhodes, freelance, and Ann Marie de Angelo of the Joffrey). Karen Kain and Frank Augustyn were smashing in excerpts from La Fi/le Mal Gardee and Sleeping Beauty. Lu i also brought 24 Entre-S ix to his own smal l theat re in November and will close his Dance Spectacular series with several nights of the Joffrey in June. The season here opened late in September wit h Ballet Ys, a Toronto group whose rendit ion of Ann Ditchburn's Nelligan was especially well received. A month later, several young women banded together to open what has become a smash-hit gathering place for ethnic and social dancers, a huge, high-cei linged feasting hall with a large rubber-sprung dance floor. Called Sofia, after the Bulgarian city, it features food and drink of varying origins, folk dance instruction, belly dancers, occasional guest appearances by folk ensembles, and frequent live music. It has become a favorite afterconcert rendezvous for the dance community; the vitality of the patrons often outruns that of the performances they've just seen. Visitors to the 1978 Dance in Canada meeting will experience this local wonder; we're planning to book the place for a party. As well as Israeli, Scandinavian, Balkan and other European dances, Sofia offers music for the Charleston, Latin American styles and even the occasional cut of rock n' roll. One early November weekend brought, from New York, the Kathryn Posin Dance Company and the Ballets Trockadero de Monte Carlo. Posin and her group, including co-director Lance Westergard, were in residence at Simon Fraser University for several days; their concert included three works: the lyrical Waves, with its tricky face-balances, the trendy, pinball-inspired Light Years, and Bach Pieces, delicate studies in isolation movement ranging from the solemn to the terribly funny. Simultaneously, at the Queen Elizabeth Theatre, the Trocks, New York's satiric ballet company, were delighting dance fans and sexual-curiosity seekers alike . In addition to parodies of the likes of Balanchine, Ivanov and Ashton, they gave us a Feifferesque vision of Martha Graham which hit with deadly accuracy the intellectual pretensions and grotesqueries of early modern dance. Instead . of swords, crucifixes and other symbolic paraphernalia, the drag harpies wielded mops, brooms, toasters and irons. Instead of extended engagements of full-evening programs in fall and spring, several local companies replaced a fall season with studio concerts or an appearance at the Sunday Morning Coffee Concert series at the Playhouse. These dollar-a-seat, hourlong, baby-sitting-provided programs , sponsored by J. J. Johannesen's Festival Concerts Society , have been remarkably successful in exposing dance to new audiences . When Prism Dance Theatre performed in January , they packed the theatre, and people were turned away . Brightening our Sunday Mornings, in addition to Prism, have been the Anna Wyman Dance Theatre, Tournesol and on two occasions, Mountain Dance Theatre. The Paula Ross Dancers have been performing in their renovated West Broadway studio on Sunday evenings; they plan a spring season, titled Horses, at the Vancouver East Cultural Centre in May. Mountain Dance Theatre has been busy this year with choreographic experiments, including structured improvisations and chance arrangements of predetermined phrases . There are few peaks to Mountain's range; much of their movement seems doodly and lacks a passionate connection to the medium. Recent work includes coy games with hula hoops and a study in Walking, Working, Waiting which wanders on too long. In addition to the Coffee Concerts, they did several gallery and shopping mall presentations and a three-performance run at the Lui Theatre late in April. A frequent fantasy of mine is to see the five or six top local c;:ompanies merge into one performing un it. There are enough smashing dancers among the Ross, Wyman, Mountain, Prism and Pacific Ballet contingents to form a single sturdy ensemble which could learn each choreographer's most effective work and be available as a repertory group for freelance choreographer~ in the city, like Judith Marcuse, or visiting artists from other places. As it stands, our dance resources are fragmented, both financially and artistically. Of course, the likelihood of such amalgamation occurring is extremely slim, though hopeful signs of cooperation between groups and with freelancers are sometimes visible. Prism Dance Theatre, directed by Jamie Zagoudakis and Gisa Cole, has held a number of studio events in its Hastings Street location, including an evening of film and live music in the fall and, just after Christmas, S.R.O. performances of solos by Judith Marcuse and Albert Reid. Reid, a former Cunningham dancer now teaching at Bard 'College and in New Prism Dance Theatre: In-studio event York City, gave an intensive technique Norkshop at the Contemporary Jazz ance Centre, Prism's teaching wing, hich attracted dancers from most ocal groups. Watching some of these sessions, seeing Santa Aloi and GisaCole crossing the floor, executing combinations with complete mastery and gritted teeth, led me to speculate on another sort of ensemble, which ight choreograph and present comic asterpieces. Reid has a rigorous approach to technique and choreography; his work has a meticulous, steady, plant-like quality, a concern ith line that is pure energy and never se. While in Vancouver he choreoaphed, for Prism, a long mysterious ance called Minus Eros, the most c al lenging work this company has splayed to date. First performed at e overflow Coffee Concert in January , it graced only one of the four e e ings Prism presented at the Culral Centre ,in April. During that series , t he company performed primart e work of its directors. It has been vin g for several years, is now s al ler and tighter, still attempting to rk in a variety of idioms, from jazz/ es through modern to balletic s . To my mind, Gisa Cole's most '"'essful choreography so far is the to music by pie Encounter, e c; in it four dancers, arranged ee pairs, enact ident ical movesequences. The impact varies as pies do, female-female, femaleale-male. Judith Marcuse presented an Evening of New Dance and Music, in collaboration with composer David Keeble, at the Cultural Centre lat in April. She has a clear sense of phrase, of gesture; various small moments of dramatic intensity punctuated her five solos and two dances-for-two. Her animated face did a large amount of the expressive work. A good deal of strain was evident in her features and in the angularity of her slight body. Deliberately manipulated (as in You Haven't Done Nothin', to the music of Stevie Wonder), this tension contributes to the sense of contempt (for self? for some Other?) projected by the abrupt changes of focus, the hammering of her body with clenched fists. Missing in the choreography is a continuity of movement, a sense of direction in handling longer stretches of time. She's dancing now with her outsides; energy moves along her spine and shoulders, wrists and feet, up the back of her legs and especially about her face. The work has a fastidiousness about it which occasionally verges on affectation. I'd like to see her loosen up, take more chances, find more connections among the delicate and Insistent gestures. These are early works. Opportunities, across the country, to work on other bodies than her own, should tell new tales before the year is out. Simon Fraser University is bringing Phyllis Lamhut for a month-long workshop in May and Zella Wolofsky to teach Labanotation. The department's term-end concert, held late in March, featured nine dances, two by department chairman Iris Garland, two each by faculty members Santa Aloi and Savannah Walling, one by Karen Rimmer, who also teaches at SFU, and a reconstruction of Doris Humphrey's early work The Shakers. Also included as an aperitif was The Sweeping Beauty, a funny but overlong spoof on romantic ballet by student Jon Franklin, featuring a remote-control carpet-sweeper trailing ribbons and blossoms. The SFU concert was remarkable in its scope, presenting dance styles as diverse as 1920s dances (Garland's 23 Skidoo), ballet, the Humphrey work and Santa Aloi's Present Company, which combines chance elements, cards bearing instructions, with preset choreographic patterns. The dance department, formerly under the wing of Kinesiology, has found a more appropriate home in the Centre for Communications and the Arts; a dance minor is now available, and Gladys Bailin, twice a summer visitor, will join the faculty for the fall semester. Savannah Walling and Karen Rimmer contributed three of the strongest works in the SFU performances, works that will become part of the repertoire of Terminal City Dance, the new group in which they are cooperating directors, along with Peggy Florin, MarionLea Dahl, Michael Sawyer, Menlo Macfarlane and Terry Hunter. Walling's Klangenfort is a brawling exercise in interpersonal relations accompanied by live percussion and moving in the audience; her Runner's Tale is a study of endurance. Rimmer's startling ly delicate, dancerly trio, Generation, was performed originally to a live Purcell string quartet. During the company's tour to Edmonton and outlying areas of British Columbia, and at the May 15 performances in Vancouver, it will go with spontaneously improvised instrumentation. At UBC, groups of present and former fine arts students continue to initiate dance classes and performance events. This year's roster included, in early March, an evening of work directed by Janice LeBlond, the general effect of which was languid and fashionable, with not much intrinsic dance interest. Her performers, a group of six collected from around the city, are technically uneven. LeBlond has a good eye for design; her capacity to structure time needs development. Mid-April saw The Elements, a co-production by UBC dance, art and music students and their friends. An ambitious, multi-media project, directed by Emina Kurtajic and choreographed in large part by Minke de Vos, the work focused on the interaction of color and light, of earth, air, fire and water. It tended to be a bit literal. Live dancers were frequently superimposed on their own filmed images. Music included extensive percussion, sitar and a keening, scat-singing vocalist. 25 Major spring presentations by Paula Ross, Anna Wyman and the Pacific Ballet Theatre, as well as lmmram, are yet to come as this survey is completed. Also in the offing is the North American premiere of the Shanghai Ballet, a touring company of 150 dancers, singers and musicians, in a new production of The White-Haired Girl. A slow growth of interest in Contact Improvisation, touched off by a visit to Vancouver by its developer, Steve Paxton, in 1~75, mushroomed this year into a full-scale epidemic. Local dancers Andrew Harwood and Seamus Linehan, who have been studying the form herec1nd in California for a couple of years, gave a series of preparatory workshops and concerts, followed in late February with a week-long visit by ReUnion, a touring group which includes Paxton, Nita Little, Nancy Stark Smith and Curt Siddall. Another contact group, Mangrove, taught and performed in the city in late April. Contact improvisation, which has been called an art sport, hovers somewhere between gymnastics, wrestling and improvisatory dance; it is unchoreographed, growing in the moment of performance from a point of physical contact between. two dancers. Participants work with mass, momentum, gravity; with themselves, each other and the floor. They explore balances, finding new ways to support each other, to free each other to fly. The ideal contacter can walk on hands as well as feet. Watching Contact Improvisation is more like eavesdropping on a private conversation than like watching an audience-directed show; the intimacy revealed, the spontaneity of a developing relationship, is fascinating and seductive. The attributes needed to do it are strength, flexibility, courage and good will, which makes it a fine working space for many women and men whose physical endowments exclude them from dressier dance forms. The Synergy Performing Association, which includes founder Linda Rubin and many of the city's most experienced contacters, performed an evening of improvisations late in April at Rubin's stunning new Main Street studio, where, just before Christmas, Mona Sulzman, now of Trisha Brown's company in New York City, taught a workshop in sources for movement. Dance courses are springing up in the province's community colleges, and historical dance workshops occur periodically, often under the aegis of Catherine Lee. The Dance Co-op, phoenix-like, continues an unpredictable life cycle. Dance remains, with indoor tennis, a dependable form of exercise in this topsy-turvy climate, where January and June have become nearly indistinguishable. Elizabeth Zimmer 26 Toronto Three or four years ago, at the beginning of a Toront concert by Le Groupe de la Place Royale, Peter Boneham bounded onto the stage, broke into a wide grin and announced, "Well, here we are in the Big Apple." If irony had been his intent, he couldn't have come up with a better opening line. In dance terms, Toronto should be the Big Apple. It is the home of the nation's largest ballet company (the National), its largest modern dance company (the Toronto Dance Theatre) and its leading institutions for the training of dancers and dance-related people (the National Ballet School and York University). But if Pyrus Malus metaphors are to be used to describe its condition as a dance centre, the particular apple had better be crab. Torontonians who wanted to see Karen Kain dance with Roland Petit's Ballets de Marseilles this season had to drive to Hamilton. To see Maurice Bejart's Ballet du XXieme Siecle they had to fly to Ottawa. The City Centre Joffrey Ballet, which regularly visits Vancouver, regularly bypasses Muddy York. And Les Grands Ballets Canadiens lost so much money during its last visit that who knows when it can afford to make the next one? Despite these and other omissions, the 1976-77 season has been a busy one, perhaps the busiest on record. The trouble is that it has been an uncoordinated business, which has found the city either echoing to the sounds of countless dancing feet or silently enduring protracted periods of inactivity. At the peak of the November rush there were days on which a dance viewer could select from among five different performances. There were also weeks during which he had to settle for Havelock EIiis's Dance of Life. The November rush had its undeniably exciting aspect. It's seldom in Canada that a dance viewer can share a music lover's ability to dine buffet style. The range of available performances extended from Indian classical dance (Menaka Thakkar) and flamenco (the National Festival Ballet of Spain) to modern and post-modern dance (the Toronto Dance Festival, Dance Artists), ballet (the National Ballet of Canada) and even a satire (Les Ballets Trockadero de Monte Carlo). Unfortunately, no sooner had the month of November passed into memory than the month of Santa Claus arrived, bringing in its sack the grand total of one major professional event: the National Ballet's seemingly immortal production of The Nutcracker. And that is the way the season has gone, veering between feast and famine, with companies either competing with each other to divide the dance audience or ignoring the audience altogether. In certain cases conflicting dates were bound to occur. The Toronto Dance Festival did not take place in Novem- ber in order to compete with t e National Ballet's twenty-fifth anniversary celebrations. The reason it to place at all had to do with the sudde availability of the Toronto Workshop Theatre in a city where theatrical dance space comes at a premium. There are nevertheless certain definable differences between human beings and camels. Our metabolisms don't respond nearly so well to sudden fluctuations in intake. The sooner impresarios and compan.es start talking to each other on a regular basis and planning their seasons in some kinc;l of related way, the better the city will be able to accommodate visiting companies and the faster its dance audience will grow. Meanwhile, on with the dance! In ballet, it was definitely the National's year, with the twenty-fifth anniversary season witnessing the unveiling of one of the twentieth century's rare comic masterpieces, Frederick Ashton's La Fi/le Mal Gardee. Sir Frederick himself, white-haired and 72, arrived to supervise final rehearsals of his vintage 1960 ballet and declare the production authentic. Veronica Tennant, Karen Kain and Nadia Potts all took turns as the high-spirited Lise, opposite Stephen Jefferies, Frank Augustyn and Tomas Schramek, as Colas. But the undeniable hit of the production was David Roxander, a hitherto unexceptional dancer who mounted the red parasol of the dim-witted suitor, Alain, as if destiny had meant him to ride it. The only other ballet mounted during the November 12-20 season was a revival of John Cranko's Romeo and Juliet, once the company's signature piece and still one of its strongest productions. The fact that four Juliets (Tennant, Kain, Vanessa Harwood and Lilian Jarvis) snared the spotlight testified to the National Ballet's distaff strength, even though Lilian Jarvis appeared as a returning charter member of the company rather than as one of its current roster. She took part in a special anniversary performance cast by founding artistic director, Celia Franca, who returned to the stage herself as Lady Capulet, opposite the Romeo of Hazaros Surmeyan and the still sinister Tybalt of Yves Cousineau. Concurrently with its performances, the company presented a twenty-fifth anniversary dance conference, bringing together the artistic directors of Canada's three major ballet companies as well as such imported luminaries as Dame Ninette de Valois, Robert Joffrey, Clive Barnes and Rudi van Dantzig, to cast eyes into a crystal ball and speculate about Ballet, Classical and Contemporary: the next Twenty-Five Years. Though she may not be around for all of them, Dame Ninette made it obvious, by her pointed observations, why she will one day be missed. When the National Ballet returned to the O'Keefe Centre in February it was to present, minus the injured Veronica t , the most varied repertoire in La Fi/le Mal Gardee, Giselle, - an Lake, Sleeping Beauty, Kettenz Afternoon of a Faun, Monotones Four Schumann Pieces, A Party, ac k Angels and Mad Shadows. Party and Black Angels, which ginally appeared in its annual reographic workshop and Mad adows represented the promising ough flawed work of the three corny dancers who have most clearly e ibited dancemaking talent; James delka, Constantin Patsalas and Ann · chburn. · chburn's Mad Shadows, a SO-minute ance adaptation of the Marie-Claire Blais novel, was the most ambitious iginal work presented by the company in a very long time, but in spite of its many clever choreographic ouches and the efforts of a cast eaded by Cynthia Lucas, Karen Kain, Hazaros Surmeyan, Tomas Schramek and Peter Ottman, it was structurally ndermined by an unsupportive and singularly banal score by Quebec's Andre Gagnon. Of the season's two guest artists, Lynn Seymour didn't appear at all because of a contractual conflict, thereby permitting Nadia Potts and Mary Jago he merited opportunity to dance Giselle, and Rudolf Nureyev appeared i n on-again, off-again form. Nureyev's andings have become as heavy as his mpact on the box-office. either the Dutch National Ballet's fall season nor the Royal Winnipeg Ballet's spring season had anything like the same impact, although both were warmly applauded and enthusiastically eviewed. The Dutch, who made their orth American debut in Toronto two years ago, brought works by all three of their resident choreographers udi van Dantzig, Toer van Schayk and ans van Manen - and left a lasting memory with van Manen's Adagio Hammerklavier, a marriage of three couples with Beethoven. For their part, he Winnipeggers brought Norbert Vesak's trendily psychedelic What To Do Till the Messiah Comes, together w ith two more substantial works by heir choreographic find of the oment, the talented Argentinian, Oscar Araiz: Magnificat and The Rite of Spring. e major modern dance events of the season centred around the Toronto ance Festival, the first of its kind to be held in the city in many years. It t ned out to be a five-week near-binge of dancing, arranged by the Toronto ance Theatre in co-operation with se eral other local dance enterprises. II t hree TDT artistic directors, Patricia ea t ty, David Earle and Peter a dazzo, revived repertory works for e occasion and for once it was poss le to see enough of their work in a c ncentrated period to appreciate the ,a ge of their choreographic persona ~ es. a ryn Brown, Danny Crossman, argaret Dragu, Dancemakers and the y Jarvis Dance and Theatre Corny also took part, sharing programs, introducing new works and in general contributing to a festival so full of changes that it was estimated that an omnivorous viewer would have to pay 30 trips to the Toronto Workshop Theatre to take in everything and everybody. If the Festival can be said to have produced its own stars they were two in number. Danny Grossman, a Paul Taylor dancer turned Torontonian, not only provided the outstanding virtuoso performance, with his muscle-straining, ladder-inhabit ing duet with Judith Hendin, called Higher; he also emerged as a choreographer of eyecatching theatricality. And Margaret Dragu, with the late-night show, PickUp, confirmed her role as a flamboyant image maker, juxtaposing romantic illusion with sordid reality. By the time the festival was over, its organizers had virtually comm itted themselves to an encore. If the range of its contributors can be broadened next time, better yet. Toronto seems to be teeming with independent dance artists, working in studios and lofts , some of them just as happy to emulate Greta Garbo's example, others in search of a stage. While the Festival was still in progress some of these independents took up residence at St . Paul's Centre for a series of weekend programs. Elizabeth Chitty, Johanna Householder, Nancy Schieber, Charlotte Hildebrand, Jill Bellos , Peter Dudar and Lily Eng numbered among them and at times outnumbered their audience. What the St. Paul's programs offered was work in progress, investigations of art processes, by people who in many cases were less interested in dancing than in movement and the ways we perceive it . Throughout the season 15 Dance Laboratorium made available its cosy space and 41 seats to such experimentally minded artists. It remains the place where l:awrence Adams lays bricks , Miriam Adams practices video autobiography and the two of them play host to dancer-choreographers as performance-oriented as Ter~ill Maguire and as new on the local scene as Kyra Lober. One of the city's problems is the relative lack of performance spaces between the intimacy of 15 and the vastiness of the O'Keefe Centre. When Ballet Ys (the former Looking Glass Karen Kain and Frank Augustyn in Afternoon of a Faun: the most varied repertoire in years 27 Dance Company) took to the O'Keefe Centre-sized stage of the MacMillan Theatre in the fall, its small choreographic statements and youthful dancers looked positively Lilliputian. York University's Burton Auditorium, with its quasi-arena shape , isn't really the answer, though the Utah Repertory Dance Theatre brought an eclectic repertory there in January and New York's, Multi-Gravitational Aero Dance Company set up aluminum towers and supporting ropes in the same space two months later. If the seating were more comfortable and the availability more frequent, the Toronto Workshop Theatre might prove as congenial to other companies as i,t did to Rachel Browne's Contemporary Dancers of Winnipeg in late February. In the meantime, modern dance is still looking for a home and ballet for a proper home in Toronto, a place audiences as well as dancers can call theirs. And until one is found, it's no wonder dance continues to live a gypsy existence in the city that should be "the Big Apple." William Littler Montreal L'annee 1976 aura ete tres fertile dans le monde de la danse au Quebec. II n'y a jamais eu autant de spectacles dans une seule annee. Deux nouvelles compagnies ont vu le jour. Plusieurs compagnies de danse canadiennes sont venues nous rendre visite sans compter les troupes etrangeres. Pendant le seul mois de juillet, ii y a eu 14 premieres a Montreal seulement, sans compter les villes de Quebec et Sherbrooke. Le public quebecois a done eu la chance de se familiariser avec plusieurs styles de danse, surtout lors des Olympiques culturelles qui se sont deroulees du ler au 31 juillet. Jamais annee aura ete aussi pleine d'activites pour les compagnies de danse du Quebec. Et personne ne s'en plaint d'ailleurs. II y a un vent de creation qui scuffle sur cet art qui est reste trop longtemps ignore. · La compagnie qui a ete la plus active sur la scene locale est sans nul doute le Groupe Nouvelle Aire. Sa formule d'echanges baptisee "chorechanges" (voir Danse au Canada, hiver 1977, numero 11) a remporte beaucoup de succes dans !'ensemble et attire un public assez varie depuis la premiere seance qui s'est tenue du 2 au 4 decembre. Jusque la le GNA etait reste dans l'ombre, se contentant de faire quelques sorties a !'occasion . Ce n'est que vers la fin de l'annee 1976 que tout ce va et vient des chorechanges a vraiment donne une vocation nouvelle a cette compagnie de danse moderne. Mais tout n'a pas ete aussi rose pour l'autre compagnie de danse moderne: le Groupe de la Place Royale. Le GPA 28 Les mid is de la place a la Place des Arts: on y vient casser la croute, et s'eduquer sur l'art de la danse. dirige par Jean-Pierre Perreault et Peter Boneham est reste marginal, malgre le fait que c'est la plus ancienne compagnie de danse moderne au Quebec. Apres les Olympiques culturelles, le Groupe a donne son spectacle d'automne au Pol lack Hall de l'Universite McGill. II a repris Les Nouveaux £spaces (presente en juillet), "une choregraphie structure variable qui se base sur des jeux d'espace et de temps, de gravite et d'energie, de silence et d'humour;" ainsi que Danse pour sept voix, une polyphonie dansante (egalement presentee en juillet) "qui amene les danseurs a prolonger la gestuelle dans le temps par le jeu des cordes vocales". Puis, ii a entrepris une breve tournee de !'Ontario et du Quebec. Mais tout recemment, le Groupe a officiellement annonce qu'il abandonnait ses locaux de la rue Saint-Laurent a Montreal pour aller s'installer dans de nouveaux studios sur le mail de la rue Sparks a Ottawa. Selon Perreault, le public et le gouvernement de !'Ontario seraient beaucoup plus receptifs et interesses au type de recherche et de spectacles auxquels se livre cette compagnie. Les Ballets-Jazz eux, ne cessent de prendre de !'expansion, et ce style de danse est aussi populaire au Quebec que le fox-trot ou le charleston l'etaient a leur epoque. Pres de 1,200 etudiants de niveau debutant, intermediaire et avance suivent des classes de jazz surtout, de claquettes ou de danse classique dans leurs studios de la rue Sainte-Catherine. L'ecole de la ville de Quebec, ouverte depuis septembre 1976, compte pres de 500 etudiants de niveau debutant et intermediaire. D'autre part, les BJ ont mis sur pied un "Programme de Boursiers" dirige par Peter George, l'un des danseurs de la compagnie. L'objectif premier de ce programme est d'abord d'assurer une releve et ensuite, de developper un a noyau de danseurs professionnels prets remplacer ou assister les danseurs de la compagnie en attendant d'en faire partie. Sur les 15 danseurs admis a ce programme, trois seulement sent au niveau "apprentis" et re9oivent $60 par semaine en plus de cours gratuits specialement dispenses pour eux. Les autres beneficient seulement de cours gratuits. En ce qui concerne la direction artistique, Eva von Gencsy a choregraphie une oeuvre qui n'a pas rencontre tous les succes esperes, du moins du c6te de la critique. Fleur de Lit, c'est une jeune danseuse qui est "le symbole tourmente des amours et de la survie du Quebec a travers les trois derniers siecles". Pour sa part, l'autre compagnie de jazz de Montreal, La Compagnie de Danse Eddy Toussaint a connu des moments plus difficiles depuis sa fondation en juillet 1974. Mais 1976 aura specialement ete une annee difficile. Oblige de concilier le travail d'administrateur et celui de directeur artistique, Toussaint n'a pas re9u la subvention de $55,000 qu'il avait demandee au Ministere des Affaires culturelles du Quebec, sous le gouvernement liberal et non plus celle du Conseil des Arts . En desespoir de cause, ii a du piger dans les fonds de son ecole et de sa poche pour ne pas termer les portes de sa compagnie. Heureusement, le nouveau gouvernement lui a debloque des fonds de l'ordre de $25,000 tandis que le Conseil des arts metropolitain lui accordait $5,000. Ce choregraphe d'origine ha"itienne est encore celui qui touche de plus pres a !'a.me quebecoise. Son ballet Place Jacques-Cartier a la memoire d'une femme qui s'est brulee vive sur la Place Jacques-Cartier a Montreal, exprime bien un evenement local mais d'une fa9on universelle. Pour c16turer l'annee, Toussaint a organise un atelier d'une duree de trois a es invites etaient Madame Luda Chi riaeff des Grands Ballets, Mar ie U~be-Neron, directrice du ement de danse de l'Universite ont real, Madame Seda Zare et -M aria de Gorriz, autrefois pree danseuse au Royal Winn ipeg 5a et. Entre-Six pour sa part n'a pas cesse oe sillonner le Canada d'est en ouest e pl usieurs villes auront pu constater ·excellence et l'originalite de cette t ite compagnie de danse classique. Leur annee s'est close par une part icipat ion au festival du Theatre Riverside urch a New York ou ils ont recolte J e bonne critique, specialement de . Clive Barnes du New York Times. e leur cote, les Grands Ballets Canadi ens ne sont pas restes inactif . Au hapitre des productions, le directeur art istique Brian Macdonald a presente Marathon en premiere mondiale pour souligner la tenue des Jeux Olympiques a Montreal. Une oeuvre dont le heme est cependant vaguement reliee a l'olympisme et qui n'est surement pas la plus interessante de ce choregraphe. Un autre classique est venu s'ajouter au repertoire des GBC: ii s·ag it du deuxieme acte du Lac des Cygnes presente en novembre dernier dans une forme fidele a !'esprit des ch oregraphes Ivanov et Petipa. Et aussi les GBC ont danse leur fameux Casse-Noisette. C'etait la onzieme annee consecutive et les decors et les costumes commen9aient legerement a et re defralchis. Pour completer leur saison de danse, les GBC ont invite deux grandes compagnies europeennes: le Ballet de Cologne qui nous a offert La table verte entre autres, et le Ballet National des Pays-Bas nous a fait connartre les choregraphes van Manen et van Dantzig. D'autre part, Sylvie Kinal-Chevalier, une jeune apprentie de 17 ans a remporte en juillet, la medaille d'argent (section cadet) du Concours internati onal de ballet a Varna en Bulgarie. Et le choregraphe quebecois Fernand ault (le createur du celebre ballet ommy) a aussi gagne un prix pour son ballet Incoherence presente Iors u meme festival. En 1976, !'Ecole Superieure de danse es GBC a accueilli plus de 100 eleves ovenant de differentes ecoles privees ont l'Academie des Grands Ballets adi ens . L'Ecole assume auss i la respon sabilite de l'enseignement disoe se dans le cadre du cours "Conrati on-ballet" a !'Ecole Pierre Larte. 33 nouveaux eleves de tous les s de la province ont ete acceptes secondaire I. lls viennent s'ajouter 30 autres eleves du meme proe en secondaire II. Ce projet eg rati on du ballet aux cours acaq es a vu le jour grace a la colla~ •,n ,nn du Ministere de !'Education ebec qui , en plus de couvrir les tfe se ignement , offre des bour- a j eunes ages de 12 ans en e. Une nouvelle compagnie de danse a vu le jour en aout: c'est Pointepienu dirige par Louise Latreille et Anthony Bouchard, autrefo is danseurs avec les Ballets du XXeme siecle de Bejart. Cette jeune compagnie s'e~t donnee comme objectif premier d'integrer theatre, chant et musique (d'apres le style de l'ecole Mudra chez Bejart) bases sur le rythme de chacune de ces formes d'expression. lls ont egalement !'intention d'ouvrir une ecole qui aura pour but de former des danseurs plus complets, avec une formation de trois and qui comprendra, outre le ballet et la danse moderne, le ballet jazz, le theatre, le chant et le rythme. Danse Icarus est egalement une jeune compagnie qui s'est produite jusqu 'ici a l'interieur des cadres de l'Universite McGill. En novembre dernier cependant, Danse Icarus a donne un premier spectacle au Moyse Hall . Son approche consiste a integrer !'educat ion et le danse. Le but n'est pas de divertir mais d'exploiter a fond des themes psychologiques. Un nouveau stage de danse a pris forme en aout '76 grace a une idee originale de Jacquel ine Lemieux du groupe Entre-Six. Ce stage de danse qui s'est tenu du 2 au 15 aout sur le campus de l'Universite Bishop a Lennoxville a regroupe, pour la premiere fois au Quebec, plusieurs professionnels de la danse de renommee internationale. Sous la presidence de M. Grant Strate du departement de danse de .l'Universite York , ce stage baptise pour !'occasion "Quebec-ete-danse" a pu offrir des cours de danse classique, de danse moderne et de jazz ainsi qu'une serie de cours academiques (administration, pedagogie , anatomie du danseur, histoire de la danse). Des ateliers choregraphiques et un spectacle offert par quelques stagiaires sont venus completer ce programme qui a connu beaucoup de succes . Les professeurs invites etaient, entre autres, Madame Nora (classique), Walter Nicks (jazz), Grant Strate (classique), David Drum (anatomie). Cette experience sera renouvelee cette annee et s'etendra cette fois sur trois semaines. La regie de la Place des Arts a fait place a la danse cette annee . En effet, les jeudis midis ont ete consacres a l'Art du mouvement. A chaque semaine, la danse a ete etudiee sous ses formes diverses, retra9ant son evolution du 17ieme siecle a nos jours. Cette serie de neuf spectacles (du 4 mars au 29 avril) a ete commentee par Henri Barras, critique de ballet a la Revue Danse Perspective de Paris. II a ete demontre, avec la participation de compagnies de danse du Quebec, comment la danse s'est peu a peu transformee jusqu'a nos jours pour devenir ce qu'elle est maintenant : une forme d'art qui s'identifie le plus a notre sensibilite contemporaine. Le prix d'entree etait de $1.00 et le buffet facultatif - pour ceux qui viennent faire un saut entre les heures de travail - etait oe $1.50. C'est bien peu quand ii s'agit de passer une heure et dem· agreable et instructive. Suzanne Asselin Edmonton Edmonton is known as the boom town of Canada. Since 1960 the population has almost doubled to approximately half a million, the average annual income is above that the nat ional average and officially unemployment is practically nil. Although the province of Alberta is considered comparatively rich, dance in Edmonton, as is common in most places in Canada, isn't particularly well off. There are of course the usual maladies characteristic of dance companies , organizations and institutions across Canada : economic dependence on tight-fisted funding bodies; small audiences who are too unfamiliar with the art ; the need for more dance education; the need for more choreogaphers, etc. In Edmonton, apart from a thriving tradition of ethnic folk dance out of which a couple of professional companies have emerged, dance, in every aspect from education at any and all levels to the professional dance company, is in its initial stages. Th is is most evident in the kind of work done by some of the city's dance companies which reflects artistic philosophies that seemingly must be adhered to in order for the companies to survive in an environment that is critical and yet basically ignorant of the principles of the art form. The Alberta Ballet is a company of 11 dancers that was founded 10 years ago by Ruth Carse, who remained artistic director until last year when Brydon Paige assumed the position. Mr. Paige's artistic philosophy is a conservative one - a patient approach that is intended to build further both company and audience. He intends to provide audiences with a spectrum of styles within ballet that will appeal to a variety of tastes, cultivating a greater appreciation for the classics in audiences who are also exposed to what is more avant-garde in ballet. Last fall the company performed a program which included two classical pieces (Act 2 of Giselle and La Espanola), two modern ballets (both duets) and a jazz collage. The spring program performed at the end of April is distributed in the same way among classical, modern and jazz ballet. It seems reasonable that the company does not want to take the risk of losing an audience by restricting itself to any one particular style; but , although this approach may be appropriate for audiences, it has created a problem within the company. It takes a very strong group of dancers to be able to handle this variety of styles. Although the soloists have this versatility, the 29 Ernst and Carol Eder of Tourneso l 30 -""'-"•ny as a group at the present ot excel in any one area. The berta Ballet, however, is still young, s potential is exciting. In time a ce will be arrived at between the of the dancers and the company d be able to achieve its goals. Alberta Contemporary Dance - eat re is one of the two modern ce companies currently in Edmon. It is a small company consisting four dancers and two performing prentices. e artistic directorship is essentially s lit three ways between Charlene Tarver, Jacqueline Ogg and assistant artistic director Sherrie Waggener. The company's artistic philosophy is clearly aimed at as large and as varied an audience as possible in order to entertain and educate the public in odern dance. It tries to extend itself to the community as much as ossible with performances in such places as the art gallery, the museum and shopping plazas. It performs in smaller Alberta communities as well as the larger cities and also has a ch ildren's program which tours the schools. Th is philosophy is reflected in the company's attempts at stylistic inovations. Last fall the ACDT held a dance and sculpture experiment, the purpose of which was firstly to use the two media of dance and sculpture to expand the dimensions of both rough staged choreography, and secondly to invite audience interaction and discussion with the choreogaphers and dancers and to explore the sculpt ures. his kind of evening will be successful if the treatment of the material is choreographically clear and concise. On this particular evening the curiosity of the audience was piqued (which in itself is an accomplishment), but the ch oreographic and technical weakness tended to obscure rather than clarify th e material. Nonetheless the company must be commended for its efforts. It is important that this sort of work be performed for the public, particularly in Edmonton where experimental work is so scarce. Trying to enhance the rapport of modern dance with its audience s not an easy task. Ern st and Carol Eder, otherwise nown as Tournesol, took up residence Edmonton for the season in their own s udio-theatre called Espace Touresol. Because they are in the unique tuat ion of having a multi-purpose ace in which they can both live and w rk , it is possible for them to avoid e of the financial and practical lems that other companies have to ea wit h. Es ace Tournesol is available to other si s who wish to perform or display w ork. Adjacent to the performing area is a small gallery in which photos drawings by various artists are exh ibited. esol has performed three times g t he season - two independent programs and once as guest artistis with the ACDT. The Eders' style of dance is distinct f rom any other group in the city. They break many of the choreographic conventions generally considered necessary in theatrical dance. The technical approach of the putting-together and execution of "dance steps" or movements from any given dance vocabulary, is meaningless in the Eders' work . They deal with movement in its natural, or as Ernst Eder says, "true" form: natural body movement in repetitive motion. They do not make artistic compromises for the sake of the audience. One could say that their work is comparable to that of the Laura Dean Company of New York. Ernst Eder states that two similar trends of growth at opposite ends of the continent, each never having heard of or seen the other, was an interesting coincidental phenomenon. If its work is along similar lines to that of Laura Dean, Tournesol works on a much more specifically personal level. Where Dean would choreograph a circle dance for the sake of turning in circles, the Eders would do a circle dance clearly for the purpose of making a statement about life that people can relate to on more than an abstract level. · The Eders' contribution to dance in Edmonton is valuable. In a fairly conservative artistic environment they provide an alternative dance experience in the realm of the avant-garde, which is new to audiences in the city, and they provide a valuable theatre and gallery space for other artists to use. There has certainly been no lack of variety for audiences this season. As well as work done by resident companies, performances by touring com- . panies have been numerous: Edmonton saw Ballet Vs, the Roland Petit's Ballet de Marseilles with Karen Kain dancing the role of Carmen, EntreSix, the Royal Winnipeg Ballet with its new version of Nutcracker, Les Grands Ballets Canadians, Regina Modern Dance Works, Les Ballets Jazz and Terminal City Dance from Vancouver. One noticeable effect of tours beginning in the east and ending in the west is that the dancers tend to be tired. Because of Edmonton's physical location in Canada its audiences are at a distinct disadvantage. Apart from the dance company performances, there is the occasional evening of dance by independent artists. One such performance occurred in February at the Citadel Theatre with Bonnie Giese and Mary Moncrieff in Concert. The dancers collaborated with a group of musicians, singers, a designer and a photographer to present an evening of modern dance. Watching the growth of the Alberta Ballet Company and the Alberta Contemporary Dance Theatre, one is aware that audience development determines their progress to some degree. The companies themselves are very aware that audience education is an important factor in their growth and de- velopmerit. Both compan ies do lecturedemonstrations and perform ances in schools; Ernst Eder teaches in th e drama department at the Un iversity of Alberta and Carole Eder teaches at th e dance program of Grant MacEwan Co llege. Although these are the beginn ings of dance education, they are st ill j ust the tip of what is needed to fulfi ll t he artistic growth of the public, the companies and of the art itself. Although the University of Alberta is supporting future programs such as the international conference on dance and the child , the administrat ion of t he university cannot seem to see t he place for dance in its educational st ructu re. This whole area is in an unfortunate state of affairs. There is a good deal of dance activity on the non-professional level. Ethn ic dance abounds with groups of Ukrainian, Lebanese, Croatian, Yugoslavian and Irish origins, to mention just a few. There are 13 dance st udio schools in the city as well as a modern dance group at the university. The influx of oil money into Edmonton over the past decade has caused respectable growth in the arts. As well as dance companies, the city boasts an opera company, a symphony orchestra and four professional theatre companies . Dance, although sti ll in the early stages of development, is holding its own among the rest of the arts . The seeds have been sewn for an exciting future. Lesley Burke 31 Dance in Canada Conference '77 D The annual Dance In Canada Conference will be held at the University of Manitoba Tn Winnipeg, August 19-23, 1977. Scheduled events include daily master classes in all forms of dance, seminars and forums dealing with audience development, teaching standards, fund-raising plus a variety of other dance-related topics. Canada's leading dance companies will perform on each of the four evenings. Registration forms and further information may be obtained from Dance in Canada Association, 3 Church Street Suite 401, Toronto M5E 1 M2, or directly from the conference chairman, Mary-Elizabeth Bayer, Assistant Deputy Minister, Department of Tourism, Recreation and Cultural Affairs, 2nd Floor, 200 Vaughan Street, Winnipeg, Manitoba R3C OPS. Take 1 D On April 20 CBC televised Karen Kain: Ballerina, a one-hour special devoted to the National Ballet principal. The film, produced by the Toronto company of Neilson-Ferns, followed Kain on tour with Roland Petit's Ballet de Marseilles and in rehearsal with the National Ballet of Canada. D The British Broadcasting Corporation has purchased a copy of CBC's Giselle, starring Kain and Frank Augustyn and directed by Norman Campbell. The special was first shown in Canada last fall and will be aired in Britain this season. Summer Seminar D The First International Ballet Pedagogical Seminar is to be held in Varna, Bulgaria from July 25 to August 7 under the auspices of the Dance Section of the Bulgarian National Centre of the ITI. The program of study will include daily class in Russian classical and Danish Bournonville techniques and repertoire. Further information may be obtained from Dance in Canada Association, 3 Church St., Suite 401, Toronto, M5E 1 M2. Chalmers '77 Don't forget the Chalmers Award is still open to competition this year. For further information about the '77 award in choreography, write the Dance Office, Ontario Arts Council, 151 Bloor St. West, Toronto M5S 1T6 (416) 961-1660. Maritime Contemporary Dance Company: new project funding Coast to Coast NEW BRUNSWICK D Maritime Contemporary Dance Company (formerly University of New Brunswick Dance Theatre) has been awarded a $4,000 Canada Council Explorations grant to help finance a sixweek intensive project during May and June; the company also appears in Fredericton May 31, June 7 and 10. Toronto Dance Theatre's Susan Macpherson and Ricardo Abreut worked with the company for the first two weeks of the project. Fall plans include a tour of New Brunswick school districts and community performances during October and November. QUEBEC D Groupe Nouvelle Aire presented Chorechange 5 in its Montreal studio (May 18) featuring recent video works of Le Groupe de la Place Royale, a multi-arts workshop with painters, sculptors, musicians and actors in addition to a performance of Francoise Sullivan's choreography by GNA. Su 11 ivan, dancer I choreographer/ 32 sculptor, held a short seminar on her choreographic ideas prior to the performance. GNA's spring season at Montreal's Centaur Theatre 2 included Christina Coleman's Clowning and L'llot by Martine Epoque based on Inuit chants, and 1964 marked Francoise Riopelle's return to the choreographic scene after an absence of 13 years. GNA will perform at QuebecEte-Danse in Lennoxville (July 23-Aug. 13) prior to preparations for a short western tour in November. D Touching home base following an extensive tour of eastern Quebec and New Brunswick, and performances in the Vancouver Opera's Die Fledermaus during March, Entre-Six presented its spring season at the Centaur Theatre 1 (Apr. 21-24) in Montreal. Repertoire included artistic artistic director Lawrence Gradus's Sentiments, 0 Saisons, 0 Chateaux and Divertissement plus works from the children's program. Guest choreographer Rael Lamb, founder/ director of the Boston-based contemporary dance company Dance •or the New World, was featured as s loist in three of his works set for the dancers and Armando Jorge, formerly of Les Grands Ballets Canadiens and currently director of the Gulbenkian Ballet in Portugal, choreographed Trois Preludes Nostalgiques. EntreSix is currently rehearsing a new work by Judith Marcuse before heading for Quebec-Ete-Danse in Lennoxville and the Dance in Canada Conference during August. The Entre-Six fall season opens at the maisonneuve heatre in Montreal (Sept. 15-17). Christine Clair joins the administration as assistant to the director and Margery Lambert has been appointed assistant director of the school and apprentice group. □ Le Groupe de la Place Royale's new company manager awrence Bennet (formerly with Anna Wyman Dance Theatre and Toronto Dance Theatre) announced the company's move to Ottawa this summer, citing lack of public and government terest in its artistic growth as the ri mary reasons for uprooting the ompany after ten years in Quebec. As f June LGPR will be headquartered in a Sparks Street Mall studio in Ottawa here it hopes to augment the public awareness of dance by providing a odern dance school, workshops and an informal teaching/performing space for artists from Ottawa and other c ies. The company will in residence •or the - University of Ottawa's first s mmer session in dance (July 1 -Aug. 6). □ Les Grands Ballets Canadien's Guelph Spring Festival ebut (May 20), featured a program of •our ballets by artistic director Brian acdonald and Brydon Paige (Alberta Ballet Company. LGBC has just begun a South American trek (May 25-July 16) h ich takes them to 17 cities in nine ountries for a total of 41 performa ces. Repertoire for this tour is allanadian. TARIQ Toronto Dance Theatre presented a oreographic Workshop in its studios ay 20) featuring works by company e bers Ricardo Abreut, Nancy Ferws·on, Claudia Moore and Jeane is Morin, prior to rehearsals for the a a opening of the YMHA's Leah s Theatre (June 5) in which -~re-Six and the National Ballet of a a also take part. Following this, ~ "' l appear at the Dance in Canada ere ce '77 in co-artistic director Aandazzo's Recital with a score a couver composer Michael Ra dazzo is currently taking a o• a sence from the company. e :,lan s for October include the ,. 111a1:,o,a· on between TOT and the S gers of Canada on David Persian Suite to be --r~e-c- at Toronto's MacMillan a'Tlilton Place and Ottawa ario tour winding up the ·s t h ird western tour is • r January/ February '78. Jsvis Dance and Theatre Company will participate in the River- side Dance Festival at the Theatre of the Riverside Church in New York performing works by artistic director Judy Jarvis (June 1, 3, 5,). □ Major debuts in the National Ballet of Canada's spring season were Mary Jago as Giselle, Vanessa Harwood as Lise in La Fi/le Mal Gardee, Nadia Potts dancing Juliet and Stephen Jeffries as the Prince in The Sleeping Beauty. The Royal Ballet's Lynn Seymour did not appear as previously scheduled. The NBC Choreographic Workshop (Apr. 7-9 , 11-13) showcased ballets by company members John Aubrey, Ann Ditchburn, David Gornik, Rashna Homji and Stephen Jeffries, Charles Kirby, James Kudelka and Constantin Patsalas. Ditchburn, whose controversial Mad Shadows premiered this season, collaborated with composer Raymond Pannel and poet Margaret Atwood to produce Circe, A Masque which involved three opera singers and seven dancers portraying the myth of Circe and Odysseus. Kudelka's Washington Square was based on the nineteenthcentury novel by Henry James, set to the music of Brahms. Constantin Patsalas unveiled his complete version of The Rite of Spring, with Karen Kain and Luc Amyot in the lead roles. The NBC will appear at Ontario Place this summer and is scheduled to tour Europe in the spring of '78. □ Paula Moreno Spanish Dance Company presented two programs of classical Spanish and flamenco dance at the Castlefrank Auditorium (Apr. 21-24) with guest artist flamenco guitarist David Phillips . □ Stimulated by the success of its last workshop, Ballet Vs presented a second Choreographic Workshop (May 27-29) featuring Gail Benn's full-length ballet The Miraculous Birth of Nobody in Particular and new works by Eve Lezner, Sonia Perusse and Richard Sugarman. Now it's back to teaching class for the company's summer school (May 31-July 1) □ Ace Buddies made its debut at Toronto's 15 Dance Lab during April. The trio of Maxine Heppner, Robyn Simpson and Holly Small are graduates of York University's dance Dance Plus Four, the department. □ Kitchener-Waterloo based group founded in 1975, performed at the University of Waterloo's Humanities Theatre (May 13-14) in works choreographed by its core members Nancy Forbes, Deardra King, Gabby Miceli and Diana Theodores Taplin. □ Dancemakers will take two works to the Dance in Canada Conference '77. One of them, Schooner choreographed by company member Carol Anderson, premiered during the company's successful run at the National Arts Centre Studio in April. Plans for the upcoming season include the inauguration of a school where company members will teach and choreograph. MANITOBA Contemporary Dancers of Winnipeg □ Manitoba and the Royal Ballet for the Dance in Cana a Co ference '77 in which they will perf rn before heading south of the border • performances at Jacob's Pillow (A g. 23-27) and the Delacorte Fes tiva l New York's Central Park (Aug. 2930). □ The Royal Winnipeg Ballet closed its extensive touring season with several performances in Winnipeg during April before return ing to the studios to begin preparation for the 1977 /78 season which opens October 9 in Winnipeg. Repertoire will include two works by Lawrence Gradus, (Entre-Six) Toccata and Gradus 1, Agnes de Mille's Rodeo and Bitter Weird, Pas D'Action by Brian Macdonald, Tod Bolender's Donizettiana, The Whims of Love by Larry Hayden plus three new ballets by Oscar Ariaz - The Unicorn, the Gorgon and the Manticore (music by Gian Carlo Menotti), Rock Festival (music by 0. Terzo) and Ebony Concerto (music by Igor Stravinsky). AL.BERTA □ Calgary's Century II Dancers president Roderick Whitehead has announced that the company is folding in order to add support to the Albert Ballet Company. ABC president Brian Flye stated that the Century II board of directors will be welcomed to .the regional board of the ABC. Fortified by this development, the Alberta Ballet Company presented its Edmonton spring season at the Citadel Theatre (Apr. 29-30), travelled to Lethbridge (May 20) and finished off in Calgary at the Q.R. Centre (May 27-29) □ After a vigorous season of experimentation, extensive educational touring activities and a major mid-season changeover in dancer personnel the Alberta Contemporary Dance Theatre concluded the season with a Dance and Poetry Workshop at Edmonton's Citadel Theatre (May 16-20) featuring Janie Achtemiuk, Sherrie Waggener, Don Burnett and Kelly Rude who currently make up the company. Artistic director Jacqueline Ogg is unavailable for full-time duty, co-artistic. director Charlene Tarver has resigned, and managing director Ron Holgerson is leaving the arts administration field. Plans are underway for a major overhaul in the company's administrative structure. D Tournesol will journey to Europe this summer to study, teach and perform before returning to Canada for its second crossCanada tour beginning in the B.C. fishing village of Ucluelet mid-September and culminating in Halifax midNovember. Both Carol and Ernst Eder have concluded teaching residencies at University of Alberta and Grant MacEwan Community College in addition to a healthy ammount of performing throughout Calgary, Edmonton and Vancouver. Edmonton's Espace Tournesol, designed by the Eders specifically for dance, hosted the Regina Modern Dance Works and Vancouver's Terminal City Dance in April. are co-hosts along with the Province of 33 Terminal City Dance: a new co-op venture BRITISH COLUMBIA D Pacific Ballet Theatre wound up its spring season with May performances at Vancouver's Playhouse Theatre. Artistic director Maria Lewis, former dancer with the National Ballet of Canada and Les Grands Ballets Canadiens, presented several works while Renald Rabu (LGBC) and Bill Thompson each contributed one. PBT is under the sponsorship of the B.C. Cultural Fund, the City of Vancouver, Crown Zellerbach Canada Foundation, Vancouver Foundation, Leon and Thea Koerner Foundation and the Dillingham Corporation Canada Ltd. D Anna Wyman Dance Theatre will participate in Vancovuer's Heritage Festival with performances at the Queen Elizabeth Theatre (June 2-4) featuring three new works by artistic director Anna Wyman. Plans for 1977 /78 include fall and spring home seasons plus tours of British Columbia, Alberta and Washington. On Easter Sunday CBC Vancouver's Crosspoin ts spot I ig hted 34 AWDT with company member Vickye Wood dancing Wyman's choreography. Jule Auerbach joins the administration as assistant to company manager Helene Dostaler. D Prism Dance Theatre's artistic directors Gisa Cole and Jamie Zagoudakis presented new choreography during the company's Vancouver East Cultural Centre spring season. On the program were Cole's A Dance tor Ann with music by Ann Mortifee and The Party Girl set to a Murray Schafer score in addition to Zagoudakis's Blues Suite and Albert Reid's (of the Cunningham Studio in New York) controversial work Minus Eros. Guest artist Peggy Florin (Terminal City Dance) performed a solo of Cole's. Zagoudakis taught movement workshops at the 8.C. Drama Festival this May before joining the company in rehearsal for the Dance in Canada Conference '77. D Due to the sucess of Mountain Dance Theatre's in-school workshop program which has been im- plemented in the public school curriculum, the company was commissioned to teach and perform at the B.C. Drama Conference this May, MDT has received a grant from the B.C. Government's Cultural Funding p_rogram to commission a work by Judith Marcuse and a second grant from the Burnaby Arts Council which will partially subsidize its forthcoming Summer Workshop Program. MDT is currently involved with an series of informal dance events exploring the physical environment and architecture of Vancouver and outlying areas. D ... Vancouver's latest co-op venture Terminal City Dance toured Edmonton and B.C. during its first season (Apr. 15-16) which finished at the Vancouver East Cultural Centre. The company's choreography draws on ballet, modern dance, mime, yoga, theatre and gymnastics whereby the choreographer alternately as:;umes the roles of director and dancer. "Il KLEE WYCK nna Wyman Dance Theatre onours = National Ballet School principal Betty Oliphant will be one of the . dges at the International Ballet Com::,et ition in Moscow this June. □ Karen ai n was received into the Order of an ada in April. In addition, Kain and Frank Augustyn will both be given onorary degrees from Toronto's York iversity this summer. King Lui Creates a Kingdom □ David Y. H. Lui ("King Lui" to Vancouverites), the nationally known dance impresario, is planning to launch a Vancouver-based ballet company. He sees the company as another Royal Winnipeg Ballet, small (about 12 to 16 people), touring all over Canada, and with . a repertoire of popular contemporary classics . He's looking to big city business to contribute an endowment of $2 million to get the company off the ground. In the meantime, Lui staged a ballet gala in the city in April with the ubiquitous Karen Kain and Frank Augustyn, Lawrence Rhodes and dancers from Les Grands Ballets Canadiens. The Dutch Connection □ Links between the Dutch National Ballet and the National Ballet of Canada are being strengthened: the NBC will take Collective Symphony by the three DNB choreographers (Van Manen , van Dantzig and van Schayk) into its repertoire this year and DN B artistic director Rudi van Dantzig has asked NBC dancer/ choreographer James Kudelka to create a work for his company . 35 DANCE SESSION '77 University of Alberta, Canada August 15-27, 1977 DIPLOMA IN DANCE Classes taught at beginning, intermediate and advanced levels. Ballet, Modern, Jazz, Music Analysis, Composition. Instructor of Ballet: Sonia Taverner - formerly principle dancer Royal Winnipeg Ballet and Les Grande Ballet Canadiene. Renaissance Dances Jazz - Geraldine Stephenson - Ricardo Salinas Luigi's Studio - Jamie Zagoudakis Prism Dance Theatre - Shelley Cromie Griswold Balkan Dances - Robert Leibman Modern Dance - Maria Formolo For further information write to: DOROTHY HARRIS, Dance Session 77 Faculty of Physical Education, University of Alberta, Edmonton, Alberta. Instructor of Modern: Charlene Tarver - Hanya Holm School of Dance, N.Y.C., Certificate in Laban's Effort-Shape-Dance Notation Bureau, N.Y.C. Academie et Ecole Superieure de Danse des Grands Ballets Canadiens Plus guest instructors. Fees: $140 .00 per 15 week trimester. contact:Cherie Westmorland (Information Officer) Box 1796, Edmonton, Alberta T5J 2P2 GRANT Mac EWAN COMMUNITY COLLEGE COURSD'ETE r SUMMER COURSE Ballet Classique, Danse moderne et Espagnole, Jazz August 2 to 27 I 2 au 27 aout Inscription, Registration August 1 / aout lOa.m. to/ a 8p.m. 5022 Coolbrook, Montreal Telephone: (514) 489-4959 36 UINTE ANCE CENTRE P.O. Box 534 Belleville, Ont. (613) 962-9938 Artistic Director: Brian Scott Listd Professional Training for Career in Ballet. National Character Cecchetti Method. Residential and Academic Facilities through Albert College, Belleville Limited Scholarships h I SToronto 5 um~er coo nce In O BRANKSOME HALL JULY 4 - JULY 29 Profeulonal Faculty: Diana Jablokova-Vorps, Artistic Director, Victoria Carter, Marcia Crossley, Iolande Pascaluta-Giurgiu, Bernd Juche, John Landovsky, Elena Zhuravleva, · James Colistro - Jazz Ballet Guest Teacher. SERGIU STEFANSCHI - principal dancer of the National Ballet of Canada Dance Curriculum Includes: Classical Ballet Technique, Pointe, Variations, Partnering , Character, National Dances, Jazz Ballet, Workshops And Adult Body Placement Classes for Elementary, Intermediate, Advance Students and Professionals. The National Ballet Of Canada Montreal Quebec City Windsor Hamilton Teachers Seminar. In International Acclaimed Kirov Method Residence Accommodations For Teachers And Students 10 Years Old And Up For Brochure Write To: Carl D. Vorps, General Manager, Toronto Summer School In Dance 15 Armour Blvd., Toronto, Ont. M5M 3B9 Tel: (4 16) 489-7597 ~----------------------- 1 Ryerson Polytechnical Institute Theatre Department 50 Gould Street, Toronto MSB 1E8 Canadian College of Dance Summer School '77 Classical, National, Modern R.A.D. and I.S.T.D. Syllabi Jazz. Elementary to Advanced Winnipeg Regina Saskatoon Vancouver Edmonton Banff Calgary i formation and brochure please write ____a_~_v_e=::~~=~~~~~~~~---J September 21, 22, 23, 24, 25 Salle Wilfrid Pelletier Place des Arts September 27, 28, 29 Le Grand Theatre de Quebec October 2, 3, 4, 5 Cleary Auditorium October 6, 7, 8 The Great Hall Hamilton Place October 12, 13, 14 Manitoba Centennial Concert Hall October 16, 17, 18 Saskatchewan Centre of the Arts October 20, 21 Saskatoon Centennial Auditorium October 25, 26, 27, 28, 29 Queen Elizabeth Theatre October 31, November 1 Jubilee Auditorium November4 Eric Harvie Theatre The Banff Centre November 5, 6, .7 Southern Alberta Jubilee Auditorium 157 King Street East, Toronto, Ontario MSC 1G9 • (416) 362-1041 37 FACULTY OF FINE ARTS DEPARTMENTOFDANCE Summer Session '77 July 4 through August 12 SPECIAL DANCE STUDIO FA/DA 105/205/305/405 (Not limited to University applicants) Studio classes in contemporary dance technique, ballet technique, pas de deux and variations, improvisation and composition, contemporary repertory, ballet repertory, Spanish dance, jazz, character, mime, bharantanatyam. Instructors include: Karen Bowes, Norrey Drummond, Don Hewitt, Richard Jones, Terrill Maguire, Judith Marcuse, Brenda Matthias, Gary Masters, Paula Moreno, Ludmilla Moskvina, Milton Myers, Richard Silver, Grant Strate, Menaka Thakkar. INTRODUCTION TO MOVEMENT EXPLORATION: THE YOUNG CHILD FA/DA 217 (Not limited to University applicants) The course is designed for teachers and therapists who seek to increase children's creative powers. Course Director: Bernard Fallon - Class times 9:00 a.m. to 1:00 p.m. daily. CHOREOGRAPHIC SEMINAR (PROFESSIONAL) FA/DA 307 (Not limited to University applicants) An intensive seminar working with choreographers, dancers, composers and musicians in the process of creating dance works. Successful applicants may be eligible for tuition and living scholarships. N.B. This course runs from June 6 to July I. Intensive full credit courses are also offered in the Departments of Film, Music, Theatre and Visual Arts. For further information and applications, please write or phone: Director of Summer Studies Faculty of Fine Arts York University 4700 Keele Street Downsview, Ontario M3J 1P3 (416) 667-3636 [Q)@ITlJ©@ DITD ~ITD@©J@ [Q)@}[n]@@ @lliJ (G@ITlJ@©J@ The only national Canadian magazine witn news &articles exclusively for dancers & dance lovers Dance in Canada Danse au Canada Subscription rates: 6. 50 Rer year 12. per 2 years 10. ubraries Tel. 368 4793 or write: Dance in Canada: 3 Church St., Suite 401, Toronto, Ontario M5E 1 M2 . .__ _ _ _ _ _ _ _ _ _ _ _ _ll ISSN 0317-9737. 55,000 in the fl le read ------- SMffli Do they RilOW somethin~ you dorit? Send for your free subscription today RDlNOT€S 1231 Race St reet Philadelphia, Pa. 19107 (215) 567-6662 sdtOOlofO\NCE -~e program for advanced Ol! performing career. ::: ;:_":.:o:: given in •:: .:_" · •-:: ~ ::e ceu..1:: • m odern • jazz •L".;-=--- -·- •::e:::-.eshnotation •pointe -~--- ,. _ --~"es .o gain stage experience. -::.: :;::-J:.:y-qualified facult y .and ___ : ·o-C.:::.i?IS of renown . - . .4. udition required. Lois Snith School of Dance George Brcmn College •S ~' - E - Oft>"'. 'l5T 2T9 416) 363-9945 12 erta contemporary dance theatr e * MALE DANCERS NEEDED please send resumes to: p.o. box 834 edmonton, alberta T5J 2L4 1-403-423-4193 Les Ballets Russes de Montreal llC~ DlTAC~ E AND THEATRE ARTS CALGARY SOCIETY 'S local, provincial , national and international ~-::= ,,g Arts Events in Calgary, Alberta , Canada TAC~ contact: Randee Loucks 1912 - 11th Street S.W. Calgary , Alberta, Canada T2T 3L8 I Summer Courses - '77 CLASSICAL DANCE July 3-30, Aug. 1-14 (Russian method - Kirov, Bolshoi) Ballet , Pointe, Pas de Deux, Baroque, Workshop, Mime FOLK DANCEAugust 15-28 (Russian & Ukrainian) Character Class, National Repertoires , Dance Notation, Musical Analysis Director MIKHAIL BERKUT Camilla Anpilogova Malashenko Roger Rochon Peter Marunczak 1231 Ste . Catherine St. W., Suite 125, Montreal, P.O. H3G 1P5 Tel : (514) 288-1677 or 484-9496 39 DANSKINS ARE FOR DANCINC THESE LIGHTWEIGHT PROFESSIONAL LEOTARDS ARE FOR l<.EEPING COOL DURING WARM WEATHER WORKOUTS. CREATED ESPECIALLY FOR SUMMER, THEY ARE MADE OF COMFORTABLE, STRETCHY-SOFT NYLON AND COME IN A .Jyl ULTITUDE OF COLORS. ABOUT 7.50 TO 8.50, ·s1ZES S, M, L. AT FINE STORES AND DANCE SHOPS EVERYWHERE, OR SEND 50¢ FOR OUR 134 PAGE CATALOG. DANSKIN, INC., DEPT. DC, 1114 AVENUE OF THE AMERICAS, NEW YORK, N.Y. 10036 .. DANSKIN® •