Dance in Canada Magazine Number 1, 1973/1974

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Dance in Canada Magazine no 1 1973-1974 OCR.pdf
Dance in Canada Magazine no 1 1973-1974 OCR.pdf
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Dance in Canada Magazine Number 1, 1973/1974

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\ dOllHB d CHllH H dollCB ddanel1nada HllCB dOllSB ca11ada d HllCB dHllSB - ca11ada dollCB dHllSB . ca11ada da11co da11so ca11ada d HllCB Association Publication Number One 1973/1974 I \ Publication Number One 1973/1974 ACKNOWLEDGEMENTS The publication committee consists of Miriam Adams, Leslie Bowland, John Chapman, and C. Lee. The cover design was done by Dave Scadding. Translations to French were done by Peter Dube. Typing was done by Michelle Schillaci. Monique Aupy is the Dance Officer for the Canada Council. She has been working to develop understanding of dance in Canada. She recently held a conference of dance professionals in Ottawa towards this end. Dianne Miller is the manager of the Anna Wyman Dance Theatre. She is also a member of the Board of Directors of Dance Canada. Grant Strate is a choreographer who is presently the Chairman of Dance Canada and Chairman of the Dance Department at York University. He has long been working for an effective representation for dance in Canada. Our thanks to all of you for bringing the publication to fruition. ' Fall 1973 $1.00 (free to members) DANCE CANADA PUBLICATION (1) 4 Acknowledgements . Table of Contents 2 EDITORIAL .... 3 DANCE CANADA ASSOCIATION NEWS PREAMBLE . . Grant Strate 5 ARTICLES OPEN SESAME TO CANADA COUNCIL Monique Aupy QUICK AND QUIXOTIC HISTORY OF THE DANCE CANADA ASSOCIATION Dianne Miller LISTS MEMBERS OF DANCE CANADA ASSOCIATION DANCE COMPANIES AND ASSOCIATIONS ACROSS CANADA GRAPHICS CARTOON OF CRITICS PANEL AT NATIONAL DANCE EDUCATION CONFERENCE Diane Drum, C. Lee LETTERS FROM THE FIELD , MONTREAL/DANCE AS COMMUNICATION Iro Tembeck EDMONTON/ALBERTA BALLET COMPANY Ruth Carse TORONTO/THOUGHT PROVOKER - QUIZ FOR DANCE TEACHERS Diane Drum HALIFAX/SMILING AND SURVIVING IN HALIFAX David Weller TORONTO/I REMEMBER: MARY . . . . . . . . Judy Jarvis MONTR€AL/REPORT FROM THE ANNUAL MEETING OF LES GRANDS BALLETS CANADIENS Ludmilla Chiriaeff MONTREAL-TORONTO/SUGGESTIONS FOR "DANCE CANADA" Eva von Genscy, Trish Beatty, David Earle VANCOUVER/PHILOSOPHY OF THE PAULA ROSS DANCERS Paula Ross TORONTO/WHO IS MAN? WHERE IS GOD? WHAT IS PROFESSIONAL? Miriam Adams TORONTO/NATIONAL BALLET OF CANADA - THE 1973/74 SEASON Doug Allen SASKATOON/SASKATCHEWAN DANCE THEATRE James Green 2 7 10 17 21 32 35 36 36 37 38 39 41 41 42 43 44 EDITORIAL In compiling this first edition of the Dance Canada Publication, the fourmember publication committee faced a very perplexing problem. We differed frequently about what and what not to include, which reflected our varying ideologies. This situation parallels what is probably the case across Canada. Some dance people prefer modern or ballet, others jazz, folk or entertainment dance. Some think a dancer is the tool of the choreographer, others believe that the dancer must be the choreographer, some shudder at the thought of treating dance as a focus of philosophical discussion, while others tear and pull at the concepts of dance as art or non-art and at the meaning of art" itself. So, how did we decide on what material to use in the introductory publication? 11 We tried to encourage (in a general mailing in July) representation by letters from every part of Canada and from every aspect of dance across the country. Since we met with so little response, a second, frantic attempt was initiated with better luck. Now you truly became involved as you took on the responsibility of presenting ideas and activities to the rest of us. Finally the publication was beginning to come alive and to show signs of becoming a useful vehicle of the new Association which gave it birth. Dance Canada is a service organization for dance people in Canada. At the first public meeting of the Association, June 16, 1973, the aims and purposes were introduced, the most important being to bring dance people to an awareness of one another's existence. One of Dance Canada's objectives was to establish a serious publication and there we four were, eager and willing and completely naive, but concerned, excited, in fact adamant to carry the flag of communication to all of you. In choosing or editing (which we knew must be done with great care in order to keep the writer's own meaning and personality intact) vJe have always insisted that the material be informational and never of a self-oromotional nature. We held to the belief that the descriptions of companies must 3 4 include those concepts which distinguish them from other companies and that idea-letters present their material with clarity. Having followed these principles, we know that the contents are at least relevant, and, we hopefully have begun to represent you. Now here we are, so involved with the final process of getting the publication to press, that we ourselves hardly know what is included. We, as the volunteer committee, are not trying to play a god-role. We are trying to help everyone understand and sympathize with at least a good part of the dance community, even if we do not agree with one another. Perhaps through the publication the frightening idea which dance people have, that nobody is a friend, that everybody must be feared and mistrusted as competition can be modified. The magazine is in both English and French so we are pleased to receive letters in either language. We hope you find that our concerns for dance in Canada are yours as well. But remember that this is your publication and you must contact us if you have any objections or suggestions for improvement. But in all cases, agree or disagree with us you must help us to help you build and encourage dance in all its aspects here in Canada. Miriam Adams Leslie Bowland John Chapman C. Lee I I PREAMBLE This first publication is just one more indication that Dance Canada exists. The child was officially born June 16th, 1973 and is, like any other five month-old child, making huge demands of its parents -- parents, incidentally, who spent the nine months between conception (August, 1972) and birth (June, 1973) boning up on a sort of child psychology; how to build a meaningful organization against a long history of abortive or, at best, fumbling arts organizations2 Let us hope that the idealism of the steering committee in formulating the basic policies and mechanics of Dance Canada is founded on the real needs of the Canadian dance community. This can only be so if the organization effectively provides a voice for every serious venture, be it in high art, entertainment or education; establishment, anti-establishment or cosmic motion; original, interpretive or improvisatory creativity. This publication is intended to better communications. Perhaps we should say, its first function will be to begin dialogue between the multitude of regions and attitudes which comprise Dance Canada. Please treat this publication as your voice. For dance to evolve naturally and indigenously, you must all be heard. We can learn much from each other. The very hard-working voluntary publications committee has struggled to put this first handsome edition to press. Their faith and sometimes naive determination has been gratifying to say the least. Dance Canada is as yet without budget or 5 6 ' a permanent office. It is existing by the good graces of a few of us who believe in it and this includes my phenomenal secretary, Gail Robinson, who never aspired to toe-shoes or interpretive dancing. The plan is to have a central office in Ottawa, complete with secretary and Executive Director, soon after the New Year. Until then, please trust our good intentions. As first members of Dance Canada you deserve warm words of congratulations. It is pioneer time again and you are part of it. Sincerely Chairman Dance Canada OPEN SESAME TO THE CANADA COUNCIL Monique Aupy When asked to contribute this article to the first issue of Dance Canada I was given the assurance that all were impatient to read, once more, all about the Canada Council. I could not believe it. Such an enormous amount of inquiries reach my desk that I thought everyone already knew. A few days later, I received a letter from a dancer addressed to the B. C. GRANT DEPARTMENT , 0 TT AW A My heart went out to the Post Office Department who had not even tried LIP or OFY! I revised my scepticism, and resolved to provide the readers of Dance Canada with the open sesame to the Council s hidden treasures. No reflection on my newly acquired faith in the postal service. II 11 • 1 Our open sesame is: 151 SPARKS STREET, OTTAWA, CANADA (613) 237-3400 With this, one can find out all one wishes to know. Colourful brochures will be hastily dispatched on request, with full descriptions of the Council s programmes: aid to artists, aid to the humanities and social sciences, aid to publication and translation, cultural exchanges with foreign countries, and our new Explorations Programme, for those who do not find their niche in any of the others. All with details on eligibility, deadlines and application procedures. 1 At my desk, as the Council's dance officer, I also perform 7 8 a "Dear Abby II function, via the mail or the telephone. Al l of us ' at the Council, travel a lot. If you can t come to the mountain, the mountain wi 11 come to you, though in my case , I should say, mountain does not give auite the right image. Perhaps I could be better described as the mouse that is brought forth with great strain by the Council. 1 11 11 What can and does the Council do for the artist? It s mandate is broad: it is to "promote the study and enjoyment of , an d the product i on of works i n , the arts .. . . The needs of the arts have always far exceeded the Council Is means, however, so the Council has generally had to limit its support to professional artists and arts organizations. 1 11 In the field of dance, this means that our grants are available only to individuals who have completed their basic training, and to professional organizations. However, amateur and semi-professional artists and organizations are of much concern to us, and we are very much aware of their contribution to the arts in this country. We can only hope that the future will provide us with the means to assist them. This year, the Council will spend $1.8 million in support of dance organizations. This is perhaps not a very impressive amount in relation to the needs, but it is much more than a few years ago. The Council's total budget for the current year is $45 million, of which $19.9 million go to the arts. Apart from the budget for dance organizations, there will be a number of grants to individual artists in the dance to provide them with the time and the means to further their training, to study, to research, to work freely. .. 9 The Council has been actively engaged in the support of the Arts for sixteen years. Its programs have developed from the needs as expressed by the artists themselves. We have tried as best we could to encourage communication, and our adjudication procedures rely heavily on the advice of experts in the various art forms. Still, at times, one hears terms such as "ivory tower used to describe us. On Sparks street there is no ivory tower, just a plain, modern, glass and concrete structure. We are open, more so since our walls have gone and we have been placed in landscaped offices, with plants and all. It does not do much for privacy when an attendant walks through my office during an interview to water the plants, but there is always coffee and sympathy, and even, at times, a possibility of a grant. 11 In wartime London I am told that after bombings it was not unusual to see signs in shop windows reading "Open as usual There is a delightful story about one shopkeeper who, after his shop had been hit, hung a sign stating "more open than USU al SO i t i S at the Co Un Ci l , l i t er al l y and Othe rw i Se . We are not a government department, and we try hard to be as unbureaucratic and informal as possible. II • I hope this will have given you an idea of the Council's personality. If there is a need for more detailed information, perhaps we can start a "Dear Canada Council column in this publication. And whatever problems or projects you have on your mind, please feel free to drop us a line or a telephone call. 11 11 • DANCE CANADA: A QUICK AND QUIXOTIC HISTORY Dianne Miller Dance Canada was informally born on August 7th, 1972 in a small, crowded, Ottawa conference room. Representatives from Canada s major dance companies and associations had gathered in Ottawa, under the aegis of the Canada Council, to discuss the future of dance in Canada. Out of these discussions grew the feeling of need for a national service organization, an organization which would explore the needs of the entire dance community, speak for those needs, and work towards the solution of common problems. 1 Thus there grew a conference within a conference. The delegates reconvened after regular hours, with Canada Council approval, to put forward plans for the new organization. A steering committee was formed, to study the feasibility of the proposed organization, and to carry out the following program: Polling of the field (the field being delegates present at the conference) to establish a list of needs and priorities; from this information, drawing up the objectives of the organization. Formalization of the basic structure of the organization, subject to approval by the field. Submission of a brief to the Canada Council concerning the organization, accompanied by a grant application for funds to begin operation. 10 11 The steering committee was to carry out this initial program as swifty as possible. The selection of the steering committee was a matter of some debate, and I only introduce the matter here to save any misunderstanding concerning regionalism. It was suggested most strongly that all regions of Canada must be represented. This was obviously impractical. No one at either extreme of the country had funds with which to travel to meetings, and if anything was to be accomplished, the steering committee must meet regularly. So we, the delegates, looked for people who were available to each other and who also travelled in the regular course of their work. The members of the steering committee were chosen with this in mind and on the basis of the very deep respect we had for their abilities. Those men were: Robert Dubberley General Manager, The Royal Winnipeg Ballet (Winnipeg, Manitoba) Murray Farr Former manager, Alwin Nicolais and Murray Louis Dance Companies (New York); active Canada .Council awards recipient and therefore presently mobile across the country (La Have, Nova Scotia) Uriel Luft Directeur-Generale, Les Grands Ballets Canadiens (Montreal, Quebec) Grant Strate Chairman, Programme in Dance, York University (Toronto, Ontario) It must be said here that the steering committee fully justified our faith in it. The existence of Dance Canada today is due totally to the foundation laid by the work of these men. 12 Proceeding with the history, suffice it to say that the steering committee carried out the initial program (my apologies to the steering committee for covering in one sentence the difficult and time consuming work of three months). The culmination was a brief submitted to the Canada Council on November 21, 1972, along with a proposal requesting interim funding for the organization for the period December l, 1972, to March 31, 1973. Council had signified sufficient interest in the newly developing organization to make the members of the steering committee very optimistic as to the outcome of this grant request. Part of these projected funds were earmarked for the hiring of an acting director, who would take over the organizational tasks presently being carried by the steering committee. Unfortunately, the Dance Canada grant application arrived near the end of Council 1 s fiscal year, when all monies had been allotted. Financial assistance could not be forthcoming, and new application would have to be made in the new fiscal year. This came as something of a shock. The steering committee was back under pressure again, and on December 11, 1972, it sent out a notice to the field, listing three alternatives: To discontinue efforts to form a national dance organization at the present time; to establish Dance Canada on an informal basis, without incorporation papers, budget or staff -- such an organization could only function if all members of the dance community participated fully; or to officially form the organization as planned, without assistance (for the time being) from the Canada Council. This course of action could only be taken with very strong support from the field. In January, 1973, the field responded by voting to form officially, and with this mandate the steering committee 13 proceeded with plans to incorporate Dance Canada as a national, non-profit service organization. In February, 1973, five regional offices were established, to carry on the business of the organization until such time as funding would make it possible to hire an Executive Director. The home offices of the four steering committee members became regional offices, (thus bridging Canada from Nova Scotia to Manitoba), and a fifth office was opened in Vancouver, British Columbia. Finally, on May 18, 1973, incorporation was filed. Dance Canada became a formal entity, needing only ratification by its future members to exist. During these early months of 1973 Dance Canada was also engaged in preparing its first official program; a National Dance Education Conference, to be held in cooperation with the Programme in Dance, York University. This took place on June 13, 14, and 15, 1973, and was followed on June 16 by Dance Canada s first annual general meeting. The general meeting, needless to say, was of great importance. It would either ratify or reject the new orqanization. 1 The conference was highly successful and is planned as a yearly undertaking. Tentative scheduling places it in Montreal in 1974 and in Western Canada in 1975. The general meeting, on June 16, was less successful. This was due in large measure to poor dissemination of background information prior to the meeting itself. Many of the delegates to the Dance Education Conference were new to the idea of Dance Canada and unfamiliar with its objectives and life history. Much time was spent discussing the motivation behind the organization and arguing a definition of Dance 14 Canada's scope and breadth. There was worry on the part of some delegates that Dance Canada was seeking to exclude certain areas of the dance community and focus entirely on the professional dance companies. This was hotly debated, and finally the by-laws were amended to define the membership base in clearer terms. Then the moment of formal birth occurred, the incorporation was ratified, and Dance Canada became a reality. The organization achieved existence in its own right. The general meeting went on to elect a Board of Directors, and an exe~utive committee was formed: Chairman Vice-Chairman Treasurer Secretary Other Directors Grant Strate (Toronto) Uriel Luft (Montreal) Jock Abra (Calgary) Robert Dubberley (Winnipeg) Lawrence Adams (Toronto) Murray Farr (Nova Scotia) Iris Garland (Vancouver) Eva Von Genscy (Montreal) Dianne Miller (Vancouver) Ira Tembleck (Montrial) This Board will serve for a period of one year. The Board of Directors held a formal meeting in Banff, Alberta on August 8 and 9, 1973. This meeting sought to fully determine and clearly state the organization's objectives, following both the intentions of the original field and of the delegates at the general meeting. The list of objectives is too lengthy to be included here, but briefly, it may be summarized as follows: "Dance Canada will assist and facilitate the . 15 development of dance in Canada by acting as a common agent for purposes of communication, lobbying and self help. It will also be concerned with educational standards and better means of exposing dance as an art form. Its obj e c ti ve i s f u l 1y prof e s s i on a l . 11 This is deceptively simple, but a statement of purpose that embodies Dance Canada's wish to serve the dance community. The board meeting also dealt with organization for the coming year . . A budget was drafted and various avenues of funding discussed. Plans were made for grant applications to federal and provincial governments (these applications are in the the process of being submitted). The hiring of an executive director, to take office on January l, 1974, was a matter of much discussion and concern; interviews are now taking place to fill this post. A national office will be opened in Ottawa when the director is appointed. In the meantime, the Board of Directors confirmed the five regional offices as points of business and informati,on. The offices will also function in the planned canvass for membership, which is about to take place. But most importantly, the Board of Director's meeting ratified the first members of Dance Canada. Nothing could be more important than the people whom Dance Canada seeks to serve and represent -- the members of the dance community who are in themselves the meaning of the organization. 16 MEMBERSHIP Dance Canada Association membership for this year covers the period July 1, 1973 - June 31, 1974. Membership Categories and Dues The Board of Directors determined that the membership in Dance Canada should be comprised of the performing groups and schools who were present at the the August Conference in Ottawa, and of companies and schools that will come into existence in the future. Other interested organizations can also be included such as Actors Equity Association and Union des Artistes. This category will be termed "Participating Membership" and will be eligible to vote on matters of pol icy. Individual dance people, individuals interested in dance, local amateur organizations and government agencies will be eligible to become members. This category will be termed "Associate Membership" and not eligible to vote, although entitled to all the services of Dance Canada. The dues structure follows: Participating Membership Small professional companies (up to and including 10 danters) $ 25.00 per yr. Medium professional companies (up to and including 20 dancers) 50.00 per yr. Large professional companies (21 or more dancers) 100.00 per yr. 50.00 per yr. Schools and associations Associate Membership Individuals Non-professional Groups or Organizations Government Agencies - 10.00 per yr. 50.00 per yr. 50.00 per yr. • 17 DANCE CANADA ASSOCIATION MEMBERSHIP LIST INDIVIDUAL AB RA, Jock Calgary, Alberta CHIRAEFF, Ludmillia Montreal, Quebec ALARIE, Joan Oakville, Ontario CLARK, Christine King City, Ontario ALBAN-DOBSON, Jane Weston, Ontario CLARKSON, Pegi Niagara-on-the-Lake, Ontario ARMSTRONG, Neil M. Banff, Alberta COLLIER, Clifford Thornhill, Ontario BARNES, Carolyn St. Laurent, Quebec COOK, Barbara Edmonton, Alberta BARRETT, Joan Aurora, Ontario COOMBE, Juli a Montreal, Quebec BLACK, D. C. Toronto, Ontario COZZUBBO, Allan Calgary, Alberta BOORMAN, Joyce Edmonton, Alberta CRANE, David Ottawa, Ontario BOOTH, Joy West Hill, Ontario CUMMINGS, Pat Port Alberni, British Columbia BOWLAND, Leslie Downsview, Ontario DAM CERGS, Mirdza G. Halifax, Nova Scotia BRAUN, Sandra Toronto, Ontario DAVIES, Judith Ottawa, Ontario BRAUNWARTH, Cheryl Calgary, Alberta DAVIES, Vera Toronto, Ontario BROWN, Eileen D. Gravelbourg, Saskatchewan DRIVER, Susan Toronto, Ontario BRUCE, Christina Willowdale, Ontario DUBBERLEY, Robert Winnipeg, Manitoba CASSELS, Hamilton Toronto, Ontario EGLIN, Dorothy Kitchener, Ontario CHIN, Sheila J. Dorval, Quebec ERRINGTON, Marion London, Ontario 18 ERRINGTON, Richard London, Ontario KONIG, Heidi Ottawa, Ontario FARR, Murray La Have, Nova Scotia LEWIS, Maria Vancouver, British Columbia FEX, Marie-Claire Sudbury, Ontario LI VANT, Marianne Regina, Saskatchewan FLEMING, Virginia Mississauga, Ontario LOJEKOVA, Florentina Don Mills, Ontario FLYNN, Margaret P. Edmonton, Alberta LONGLADE, Maria Ann Mississauga, Ontario FOSTER, Ruth St. John, New Brunswick LUFT, Uriel Montreal, Quebec GARLAND, Iris Vancouver, British Columbia MacPHERSON, Marian St. Catharines, Ontario GIBSON, Len Toronto, Ontario MATCHETT, Marjorie Lloydmaster, Saskatchewan GOOGH, Linda Downsview, Ontario MATSON, Violet Surrey, British Columbia HARVEY, Irenie Oshawa, Ontario MCCAW, Lynn Toronto, Ontario HEAD, Marnie Regina, Saskatchewan McKINNON, Don Thunder Bay, Ontario JACKSON, Amelia Thunder Bay, Ontario McLEOD, Ian Toronto, Ontario JARVIS, Helga Toronto, Ontario MEIKLE, Catherine Toronto, Ontario JOHNSON, Sally Montreal, Quebec MILLER, Dianne West Vancouve~, British Columbia KEMP, Linda Clarkson, Ontario MORENO, Paula Toronto, Ontario KHANER, Myra Montreal, Quebec MORHACH, Maria Niagara Falls, Ontario KIDNER, Marika-Ly Milton, Ontario MORTON, Jennifer J. Richmond Hill, Ontario KIRALY, Katherine Oshawa, Ontario NICHOLLS, Sarah Islington, Ontario 19 PARKER, Shawna Windsor, Ontario SCARCELLA, Joan Ottawa, Ontario PASTOR, Lois Burlington, Ontario SCHOCKLEY, Susan Calgary, Alberta PATTERSON, Elizabeth Oakville, Ontario SEVER, Peter J. Toronto, Ontario PATTERSON, Tena Surrey, British Columbia SHIETZE, Joyce Ottawa, Ontario PAUZE, Yvette Montreal, Quebec SINCLAIR, Dorothy Calgary, Alberta PEACHER, Gwendolyn Toronto, Ontario SMITH, Lois Toronto, Ontario PEL, Tina Sudbury, Ontario SORRELL, Marjorie Willowdale, Ontario PILOTTE, Christine Agincourt, Ontario SUETTA, Anne Kitchener, Ontario POIRINYI, Irene Toronto, Ontario STAPELLS, Suzanne Toronto, Ontario POST, Van Der, Daniella STRATE, Grant Prince George, British Columbia Toronto, Ontario POWELL, Christine Burlington, Ontario SVENSSON, Audrey Willowdale, Ontario PRIDDLE, Ruth Waterloo, Ontario SYJUT, Helen Sault Ste. RICHE, Nicole Toronto, Ontario SZALAY, Kristina Ottawa, Ontario ROBERTS, Celia Mississauga, Ontario TILROE, Nikki West Hill, Ontario ROBINSON, Greta L. Ottawa, Ontario TILROE, Robert West Hill, Ontario SACHANSKA, Anita Toronto, Ontario VANDERHEYDEN, Anne Willowdale, Ontario SALMOND, Beatrice Markham, Ontario VICKERS, Lynn Etobicoke, Ontario SAUNDERS, Patricia Toronto, Ontario VON GENS CY, Eva Montreal, Quebec 20 WAGORN, Yvonne Arnprior, Ontario GROUP WAIT, A. H. Toronto, Ontario ANNA WYMAN DANCE THEATRE W. Vancouver, British Columbia WALL, Jennifer Ste. Anne de Bellevue, Quebec CALGARY DANCE THEATRE Calgary, Alberta WHITNALL, Sandra Kettleby, Ontario FEDERATION DES LOISIRS-DANSE DU QUEBEC Montreal, Quebec WOODCOCK, Susan Bramalea, Ontario YESZAM, Shirly Welland, Ontario YOUNG, Yone Calgary, Alberta LE GROUPE DE LA PLACE ROYALE Montreal, Quebec LES GRANDS BALLETS CANADIENS Montreal, Quebec NATIONAL BALLET SCHOOL Toronto, Ontario PAULA ROSS DANCERS Vancouver, British Columbia SIMON FRASER UNIVERSITY DANCE WORKSHOP Burnaby, British Columbia THE YORK UNIVERSITY DANCE DEPARTMENT Downsview, Ontario THE ROYAL WINNIPEG BALLET Winnipeg, Manitoba VORTEX Toronto, Ontario . . COMPANY AND ASSOCIATION LIST Here is a list of Dance Companies and Associations in Canada. We know it is incomplete and apologize to the people that we have missed. If they will notify us in the future, we will try to include the information in our next issue. "Company" as defined by Dance Canada Association includes all sizes from one member up. To differentiate, Companies will be denoted as (C), Associations as (A). Arts Guild (A) 1158 Carmen SUDBURY, Ontario Alberta Ballet Company (C) Attention: Mr. Barry Thompson P.O. Box 2428 Station A EDMONTON, Alberta 11 11 Alberta Contemporary Dancers (C) Attention: Ms. Jacqueline Ogg, Artistic Director Corbett Hall, Room 312 112 Street and 82 Avenue EDMONTON, Alberta Anna Wyman Dance Theatre (C) Attention: Ms. Dianne Miller 656-l5th Street WEST VANCOUVER, British Columbia 21 . . 22 Les Ballets Jazz Contemporains (C) Attention: Eva von Genscey, Director 3650 Mountain Street MONTREAL, Quebec Blossom-Rowland Production (C) Attention: Susan Rowland 31 Hillcrest Park TORONTO, Ontario Calgary Ballet Company (C) 1207-lst Street CALGARY, Alberta Calgary Dance Theatre (C) Attention: Mr. Jock Abra 5123 Barron Drive CALGARY 48, Alberta Canada Council (A) Attention: Mme. Monique Aupy, Dance Officer OTTAWA, Ontario Canada Council Touring Office (A) Attention: Yvon Desrochiers, John Cripton 222 Queen St. OTTAWA, Ontario Canadian Centre for Films on Art (A) Attention: Mrs. Dorothy McPherson, Executive Director 150 Kent St. OTTAWA, Ontario . . 23 Canadian Dance Teachers' Association (A) Attention: Mrs. Maureen Johnson 3400-29th Avenue REGINA, Saskatchewan Canadian Dance Drama Company (C) Attention: Mr. Gary Colwell, Administrator 294 Richmond Street East TORONTO 280, Ontario Canadian Folk Arts Council (A) 49 Wellington Street East TORONTO 215, Ontario Canadian Mime Theatre (C) Attention: Mr. Adrian Pecknold P.O. Box 1102 NIAGARA-ON-THE-LAKE, Ontario Canadian Silent Players (C) Attention: Meeghan Callaghan 81-A Front Street East TORONTO l, Ontario C.A.P.H.E.R. (A) Attention: Joyce Boorman Faculty of Physical Education University of Alberta EDMONTON, Alberta Cecchetti Society (A) 111 Maitland Street TORONTO, Ontario 24 Centre for Communication and The Arts (A) Attention: Ms. Nini Baird, Director Simon Fraser University BURNABY, British Columbia Community Dance Group (C) Attention: Dawn Thompson c/o Toronto Dance Theatre 34 Lombard Street TORONTO, Ontario Contemporary Dancers (C) Attention: Mr. Robert Holloway, Managing Director 411-259 Portage Avenue WINNIPEG 2, Manitoba Contemporary Dancers Calgary (C) 602 Earl Grey Crescent CALGARY, Alberta Contemporary Dancers of Montreal (C) Attention: Mr. Hugo Romero, Artistic Director 2010 Rue Closse, App. 4 MONTREAL, Quebec Contemporary Dance Theatre (C) Attention: Mr. Robert Holloway P.O. Box 592, Westmount Station MONTREAL, Quebec Cultural Development Branch (A) Mr. W.H. Kaasa, Director C.N. Tower EDMONTON, Alberta 25 Federation des Loisirs - Danse du Quebec (A) Attention: M. Giles Morel 2017 Est, Rue St. Catherine MONTREAL 133, Quebec Festival Canada Ballet (C) Attention: Mr. Hamilton Southam Jr. National Arts Centre, Confederation Square OTTAWA, Ontario Les Feux Follets (C) Attention: Allen Lund Neptune Theatre HALIFAX, Nova Scotia l 5 ( C) 155A George Street TORONTO, Ontario Frog Print Attention: 449 Lawson WEST HILL, Theatre (C) Nikki Tilroe, Artistic Director Road Ontario Garbut Roberts Dance Drama Company (C) 294 Richmond Street East TORONTO, Ontario Global Village (A) 17 St. Nicholas Street TORONTO, Ontario . . 26 Les Grands Ballets Canadiens (C) Attention: M. Uriel Luft 5415 Chemin de la Reine Marie MONT:EAL, Quebec La Groupe de la Nouvel 'Aire (C) Attention: Martine Epoque - Poulin, Directrice Artistique 265 Quest, rue Mont-Royal ,' MONTREAL 151, Quebec / La Groupe de la Place - Royale (C) Attention: M. Charles Hart 1182 Rue St. Laurent MONTREAL, Quebec Hodaly Dance Ensemble (C) c/o Toronto Hungarian House 245 College Street TORONTO, Ontario Inner City Angels (C) Attention: Ms. Marion Heller 583 Markham Street, Studio 5 TORONTO, Ontario Judy Jarvis (C) 11 Walmer Road TORONTO, Ontario Junior League Toronto Branch (C) Attention: Mrs. Donald Steele, President 258 Warren Road TORONTO, Ontario 27 Lionel Kilner Dance Company (C) c/o Sayde Bronfman Centre YM-YWHA , , MONTREAL, Quebec Looking Glass Dancers (C) Attention: Gloria Grant 307 Sumach Street TORONTO 246, Ontario Manitoba Folk Arts Council (A) Attention: Julius Poteles, President 221-233 Portage Avenue WINNIPEG, Manitoba National Ballet Company of Canada (C) Attention: Gerry Eldred, General Manager 157 King Street East TORONTO, Ontario National Ballet Guild of Canada (A) Attention: Mr. Gerry Eldred, General Manager 157 King Street East TORONTO, Ontario Newfoundland Arts and Culture Centre (A) Attention: Mr. John C. Perlin Government of Newfoundland and Labrador Provincial Affairs ST. JOHN'S, Newfoundland . . 28 Ontario Council for the Arts (A) Attention: Mrs. Charlotte Morcopp, Theatre and Dance Officer 151 Bloor Street West TORO~TO, Ontario Performing Arts in Canada (A) Attention: Stephen Mezei 49 Wellington Street East TORONTO, Ontario Performing Arts Magazine (A) Attention: Mr. George Hencz 49 Wellington Street East TORONTO, Ontario M8Y 4Cl The Playhouse Theatre Company (C) Attention: Mrs. Hall, President 575 Beatty Street VANCOUVER 3, British Columbia Port Colborne Ballet Guild (A) Attention: Mrs. J.R.S. Ebert 101 Elgin Street PORT COLBORNE, Ontario Prologue to the Performing Arts (C) Attention: Mary Carr 252 Bloor Street West TORONTO 180, Ontario Royal Winnipeg Ballet (C) Attention: Mr. Robert Dubberly, General Manager 289 Portage Avenue WINNIPEG, Manitoba R3B 2B4 29 Saskatchewan Arts Board (A) Attention: Mr. Vern Bell Lakeshore Drive REGINA, Saskatchewan Synergy - Artists Workshop (C) Attention: Ms. Linda Rubin 712 Robson Street VANCOUVER, British Columbia Menaka Thakkar (C) 53 Flax Gardens Way DOWNSVIEW, Ontario Toronto Dance Theatre (C) Attention: Mr. James Plaxton, Administrator 34 Lombard St. TORONTO 5, Ontario Theatre Ontario (C) Attention: Marion Wood University of Western Ontario LONDON, Ontario Theatre Ontario Attention: Alen Raeburn 559 Jarvis Street TORONTO, Ontario Toronto Regional Ballet (C) c/o Mrs. Diana Jablokova Vorps 1920 Avenue Road TORONTO 12, Ontario 30 Ukrainian Zerka Dancers (C) Attention: Terry Kikcio, Pat Lys 845 Duffield MOOSE JAW, Saskatchewan University of Waterloo Repertory Dance Company (C) Attention: Mrs. Jill Officer Kinesidogy Department, University of Waterloo WATERLOO, Ontario Vancouver Ballet Society (A) Mr. N.P.D. Sarkari, President 3610 West King Edward VANCOUVER, British Columbia Vortex (C) Apt. 302, 2345 Yonge Street TORONTO, Ontario M4P 2E5 These are additional finds: Paula Ross Dancers 3488 West Broadway VANCOUVER, British Columbia Moondance David Weller Box 135, Shore Road FERGUSSON'S COVE, Nova Scotia Saskatchewan Dance Theatre 1023 - 8th Street East SASKATOON, Saskatchewan ,, 31 •Pavlychenko Folklorique Ensemble 1023 - 8th Street East SASKATOON, Saskatchewan We would like the addresses and information about the following: Jamie Zagadoukis and his dancers Susan Tseng Burnaby Mountain Dance Company 11 Tour nes o l 11 ( Erne s t Eder , Caro 1 e Yamada ) Toronto ? 32 r:tJ r> ~ ,., ... ' ~ ; h~ \ Q~ ~, ' - ~~1 ~ 14 ..--- \ 7 0 ~FAl9'. (NOVA .SCOTIA) jow,,r (NEW toRKl COHEN LllTI.E"- (TORONTO) tTottONTO) WYl'IAN (~COW6•) FRASEll (TQRCJNTO) CRITICS PANEL #!lfl.t, ~ \ (CALG-Ail'() NATIONAL DANCE EDUCAllON CONFERENCE JuNI. 1"5, 14, 15, Yo,.~ UNMRSITY ~ &AIRIER CVANCOUVE.R.) • FROM 33 THE 34 Thank you everyone who submitted material for this first edition. Here is a list of letters which were not used in this publication but which might be included in later issues. Anyone desiring a copy of any of them before the next issue should feel free to drop us a line. Rachel Browne Canada's Contemporary Dancers: Schedule of Current Activities and Performances Iris Garland News from Vancouver. British Columbia Judy Jarvis Thoughts on Dance: Subconscious as Creator Interaction C. Lee · Dancers are not Marianne Livant Modern Dance Education in Saskatchewan Communities Vortex Company Philosophy 11 All letters should be addressed to: < Dumb 11 "Dumbs 11 Publications ~ommittee c/o York University Faculty of Fine Arts Derartment of Dance 4700 Keele Street Downsview, Ontario M3J 1P3 They should be only as long as you require to make your point concisely. The publication reserves the right to edit for grammar and deletion of promotional material. Name and address must be included for legal purposes but the name can be withheld upon request. - I . DANCE AS COMMUNICATION synthesis of the arts, and Milton who spoke of the senses as being synesthetic ie. the one feeling for, and with, the other? So should we, in dance utilise poetry, theatre techniques, actual visual devices (back projections, liquids, etc.) and music in a tighter fashion. By this I do not mean to super-impose one struct~ ure over another as when we normally take a piece of music to dance to, but that both should also have a close rapport and direct contact with the slides of the .poem one is illustrating through movement. In this way Total Theatre would emerge, and dance would be at its ceAtre. Dance is p"articularly well suited to unify all of • these elements for do we not refer to music as movement and to painting as movement too? 11 I am always amazed, actually dismayed, to find the lack of communication that exists between dance and the other arts, as we11 as within the dance field itself. I know that, statistically speaking, it is a growing art in Canada and elsewhere. However, it is s ti 11 considered a "mi nor art. 11 Much of the problem in the dance world is in the system itself. Like music, it requires tremendous discipline and technique which one must start when very young. Consequently the real dancer finds very little time to learn about the outside world. We bury ourselves, ostrichlike in the sand, thinking we have resolved the problem by shutting everything else out. And th-is encourages the public's alienation from the art form -as art, as therapy, and as communication. For art, and more specifically dance where bodies are used for expression, is primarily a need to communicate -- otherwise art would be narcissistic and have no audience. In Bejart's favourite words: "language= separation; dance= union (or communication)." Why then persist in living in splendid isolation? His cultural experience restricted due to time shortage, the dancer's performance and interpretatibn of a work, · more often than not, tends to be a display of physical feats, without the backing of a universal message and myth that would connect it histbrically to other aspects of life. So our first problem is to find a way to educate the dancer in parallel fields: history, lit- · erature, theatre, painting, and of course, music. Dance expresses not one individual's vision but that of aeons of culture, history, and evolution that the public should be able to understand at a glance. Our second step in solving the problem is to introduce additional elements to a dance composition -- on stage or offstage. Wasn't it Wagner who dreamt o.f a 35 11 Within the dance world itself, there js a dichotomy of approach. On the one hand modern dance often becomes too intellectual as a reaction to the lack of 11 headiness11 found in the extreme cases of ballet where movement is solely taken for its beautiful lines. Why not hav~ a lyrical balletic feeling in these modern schools and modern impulse in th~ ballet to find the Golden Mean? Then perhaps the new plastique wouJd become more universal and cater to a wider audience. And we might finally get a foothold in those Canadian Universities (where with the exception of York University's dance program) there is no dance major because the area of interest and study is not sufficiently 'academic', yet those same universities are quite willing to offer degrees in Physical Education and Home Economics -- , subjects of course that cater to one's i nte 11 ect. Ira Tembeck, Montreal Editor's note: The University of Waterloo Kinesjology Department also offers a major in dance. · ALBERTA BALLET COMPANY company. We need financial assistance but we also need help to obtain male dancers, guest teachers, and more liason with the larger companies. The Alberta Ballet Company has been in existence since 1960 as the Edmonton Ballet Company and since 1966 as a professional company under its present n~me. Our funds are raised by the usual bazaars, bake sales, raffles, memberships and donations from both firms and individuals. Grants are received from the city of- Edmonton, province of Alberta, and last year from Canada Council. Ruth Carse Edmonton THOUGHT PROVOKER - QUIZ FOR DANCE TEACHERS The company consi~ts of fifteen dancers who are under contract for ten months. Eight of these dancers are full members, seven are apprentices who are gaining experience by dancing some of the ballets and tours with the company. The repertoire encompasses classical ballet, jazz, character, national and modern dance. Dancers are drawn from the Alberta Ballet Company School or by audition. Choreographers who have worked with the Company are: Dr. Gweneth Lloyd, Lois Smith, James Clouser, Mattlyn Gavers, Eva von Genscy, Don Gillies, Lynette Fry Abra, Barry Dill Hayden and Colleen May. Original classical works in the repertoire are: Coppelia, Les Sylphides, Nutcracker and Act II Swan Lake. Do you stand at the front with all of the students facing you? Do you arrange your students in the room according to your opinion of their level, attitude, interest, etc? Do you openly compare one student with another? Do you openly contrast one student with another? Do you demand attention by: - speaking in a soft voice, once; - speaking in a soft voice or loud voice during exercises requiring high concentration and expect them to hear and remember the exercise; - beginning class without notice and then saying "AND"? An extensive part of our operation is the lecture demonstration program which started several years ago and which last year grew to an ·audience of ipproximately 20,000 school children in urban and rural communities. ' Do you rob your students of joy and then ask them to smile? Do you consider pain to be an intrinsic part of class by: - repeating exercises to the point· of exhaustion; - expecting students to continue (with a smile) when toes are blistered and bleed- To conclude I would like to express the interests and aims of the company. We take ballet to the small communities and schools who never get the opportunity to see the larger companies. We are creating an interest in the subject of ballet and thus are building an audience. It also gives our dancers an opportunity to gain invaluable experience performing under physical conditions which are far from ideal, and to get paid while gaining experience. ing; - insisting that an injured student take class; - not looking at or speaking to an injured student who didn't take class; not looking at or speaking to an injured student who took only part of class? Our needs are the same as any other ballet Do you discourage personal emotion and 36 --- ---------- - - - - - -- - ~ -- - - 37 force your students to repress: - depression - frustration - anxiety - enthusiasm - effusiveness - excitement - nervousness? Do y'ou insist that everyone in class do everything? Do you i,ns is t that everyone in c 1ass do everything all out? Would you like everyone in class to do everything all out? Do you insist that all of the girls dress and perform as similarly as possible? Do you insist that all of the boys dress and perform as similarly as possible? • Do you· give different exercises and/or classes for boys and girls? Do you actively participate . in your classes or do you observe? Have -you learned anything from your students lately? Have you learned anything lately? Have you learned anything important lately? Diane Drum Toronto SMILING AND SURVIVING IN HALIFAX I am deeply involved in modern dance in Halifax. I moved here last April, after a season with the Winnipeg Contemporary Dancers. Having received a job with an L.I.P. project, I was given a free hand to try to start a dance company. Under the auspices of Dalhousie University, several modern dance teachers have moved here and created rumblings of modern dance in Halifax. There have been a half-dozen modern dance performances generated on an amateur level here over the last three years. I moved here to a modern dance . scene which was, and is, just getting off the ground. During July, we had a workshop sponsored by the Nova Scotia Youth Agency. There were about fifty people attending classes every day studying with three teachers, two Graham from Toronto Dance Theatre and one jazz teacher who came from Toronto. Because of the enthusiasm generated by this workshop, and because plans for a co-operative dance studio had been going on since January 73, in August the Dance Co-op got off the ground and began teaching ·four classes a week using the Y.M.C.A. facilities. We got close to fifty students! ' We started to get gutsy, and by the end of August, we rented our own studio. There is now a co~operative dance studio in Halifax, charging minimum fees which [O to paying· teachers, musicians and studio rent~ The co-operative nature of the project is a difficult one to manage. However, in the first two. months of existence; great strides were made, even though there has been a huge turnover of people directly involved with decision-making. There are now ten classes per week including a children's class, jazz and modern classes and a tap class. Next month we are adding another children's class and a folk dance session. Dance Co-op is alive and well and living at Box 302, Halifax, Nova Scotia. There are plans to hold a one week-workshop over Christmas. We have contacted some people in New York and hope to have the Youth Agency again support us in our venture. We are planning to hold a summer dance camp. While this is just in the di~cussion ~tage, we do have a site in mind. To get to the most exciting news, for me at least, we have started a small dance company ca 11 ed Moondance As soon as 11 11 • . - 38 studio space was acquired, four of us be• gan rehearsals during the first week of September. We ,are from varying backgrounds and at first it was difficult to find a way to work. We have. been experimenting with improvisation and this seems to be creating a cohesion. We have now .worked three hours per day for four weeks, have several dances started and two near completion. We hope to do a performance some time this fall. The special events commitee at Dalhousie has asked us to perform in L'Histoire du Soldat November 21, 23, · and 24. It is going to be a busy fall. If our grant comes through we'll do some touring of schools and small centres. If it doesn't, we'll scratch our heads and do something e_lse for money. Dav.id Weller . Halifax I REMEMBER: MARY I never saw you dance. I never saw your dances. No, I came at the end of your career -- at the end of a long, loving line of students. There wasn't really much time anymore -- and yet there was just enough time. West Berlin. On a sun-filled morning in October, 1965, Mary opened her Dance Studio door. Slowly, the handle turned, and an inquisitive, lively face peeped in at her dance students, practising in class. This .was the first time I saw Mary Wigman. At first sight, I was shocke~ in feeling that I kriew her face -- as from some distant, undisclosed, taunting memory. A lion. A mountain. A turquoiseblue lake. A red flower. All were part of her mystery. The students squealed in delight to see their Mary again -- and I was formally introduced to her by young Mad a, our Argentine d~ncer; "This is Judy. She is from Canada." I shrunk in shyness from this powerful woman, but felt at the same time, as we,,. . all di'd,_ that I "belonged~"' In November, 1965, the students celebrated Mary's 79th _birthday with a concert in her studio. There, Dora Hoyer, once the dancer's idol in solo dance, appeared, sinuous and striking, sitting at Mary's other side was tiny, black-haired Til Thiele, our teacher in technique. We danced our dances and afterwards everyone shared in the champagne, served in the main hall of the big gracious old school on Rheinbabenallee. Mary glowed, speaking with everyone, her deep blue eyes seeing, exgressing the joys known to her. As always for celebrations, Mary wore a black suit, with a tiny diamond pin on her lapel, white silk blouse and fine black shoes. Ever stylish -- and the very best! She loved life. She loved art. She spoke to us, encouraged us, taught us. She was there! The first year passed, for me, in great struggle -- it was not easy to be a beginner and a stranger. I spoke no German, did not speak much at all. But I worked hard -- and was able to create and perform that year a young "Ophelia" and a harsh "Prophet." October, 1966. second year. Mary watched me as I descended the long staircase to · the studio (I always ran, slid, and leaped down), landing at her feet. She replaced her heavy gong on its iron place, and warmly smi 1ed; "It's good to see you again, Judy." Patiently, she worked with me that year, as with the other students, correcting, guiding technique, compositions and improvisations. Developing as a dancer was painful, slow -- but Mary made it an -adventure. One evening, early in the spring of 1967, I found a baby squirrel clinging to a wire fence close to the school. The squirrel .and I soon became good friends -and I named him "Danny." Mary allowed Danny to live in the School, and even let him sleep on her desk in her large room on the second floor. This room was 39 majestic -- with tapestries of black and gold, a soft black couch, deep red floor, grand piano, and a wonderful stone-carved· bust of Mary. But, there lived Danny too, perched on the enormous black desk -- a small, pert reminder of the nature that Mary loved. Christmas-time with Mary, was, for me, best of all. The foreign students were invited to Mary's on Taubertstrasse 4 on Christmas Eve. That evening the windows of her apartment were ablaze with white candles. "The candles are burning for . those who can't be wfth us," she once explained to me -- referring to the East Berliners who live on the other side of the Berlin Wall. We assembled in her living room sipping cognac from tiny silver cups, and on the signal .of a sma 11 be 11 Hesschen (Mary's companion) motioned to us to enter through the doorway to Mary's own room. We entered, and blinked in happiness at the .warm light of many candles -- everywhere aflame. Mary's face radiated -- and she led us quietly to her Christmas Landscape -- an exquisite little city of minute carved figures given to her over the years by her friends and students. Each little piece had a story behind it which she related when we asked. The little figures of animals and angels walking along the shiny red highway, up the steps to the Christ Child who came alive and even seemed to dance! The orchestra of angels, the dancing angels, the silver peacock, the little black sheep, the dark paper angel, the · carved lion, the little white birds -all lived in our imaginations. Mary had food served to us on white plates decorated with red dragons, and when we had _finished the last of the champagne, and when the candles had burned down, we went on our way into the snowy Berlin night, carrying a precious little Christmas gift she had given each of us. July, 1967. I graduated from the school, taking my examination as a dancer, teacher, and choreographer. The same month, I gave my first solo concert in the school, and on that evening Mary closed her · school forever. It -was a time of sadness and of parting for us all. Six years passed. I lived in Canada, but journeyed to Germany each Christmas to celebrate this time with Mary. As the seasons aged her, the lines in her face grew deeper, her eyes grew dimmer until almost hlind, her bones grew softer susceptible to many bre_aks. But she remained alive in spirit. June - July, 1973. I had danced at Berlin's Academy of the Arts in May, and chose to spend some days with my dear friend and teacher. We had many wonderful talks together -- and I even read "Jonathan Livingston Seagull" to her. She called it a "lovely story." I bought a bicycle and spent hours riding in the Grunewald -and afterwards would relate my adventures to Mary. We talked of nature, of theatre, of the opera, of people, of dance, of big things, of past, present~ future of all that life might offer. Before I left Berlin for Canada, she asked me not to grieve for her in death. She said she felt ready to go as she had lived her life, and now was failing with the sicknesses of old age. -----In death, dear Mary, I miss you. I miss you. You have helped give us a vision of beauty, of joy, of the fulfillment of life, of the greatness of art . . You lived. you suffered, but you endured, lived, and loved! From this world I thank you. From my heart I thank you. Judy Jarvis To!'onto REPORT FROM THE ANNUAL MEETING OF LES GRANDS BALLETS CANADIENS As I have always been interested in bei~g 40 close to all that concerned the evolution of the dance in Quebec, I thought it worthwhile to get to know more about the various aspects of dance outside the th~atre which led to my association with dance activities organized by colleges, universities and leisure-time organizations. Since my close collaboration with the Federation des Loisirs-Danse du Quebec, I have come to _realize the extent to which the dance -- i~ all its forms -- has finally taken root in Quebec and the important role which Les Grands Ballets Canadiens has played within this . new phenomenon. Thus, while s_o cial and folkloric dance activities increased as part of leisuretime activities and educational institutions began to add dance as an optio~ to their school programmes, the number of students specializing in dance increased as well as the demand -for qualified teachers and the public interest grew. This is why I speak of "the phenomenon of dance", a -phenomenon which I believe can best be compared to a pyramidic structure: In effect, the most talented, encouraged from all sides, are beginning to look into specialization while a more infor~ed public is demanding more high-quality productions. As far as the rest of the country is concerned, . this situation is unique to Quebec. The other provinces do not seem to have such a large field of activity in dance at such level. Democratize, decentralize, regionalize ... · are words which we have recently begun to hear almost everywhere. In answer to thii need, Les Grands Ballets Canadiens - has increased th_e number of its schools across the Province - has helped teachers open schools in remote areas - has created Les Compagnons de la Danse which offers performances at a modest fee to students and to the general public in Quebec and elsewhere - has rejuvenated the repertoire of the larger troupe, which is now attracting huge audiences and developing a true public for the dance in our Province - and has ~arried, as a cultural ambassador of Quebec, its artistic message across Canada and to forei~n countries. We were right in believing that we must build our own pyramid, that of Les Grands Ballets Canadiens within the la·rger structure of the dance in Quebec. Thus, we have always planned our seasons in an effort to reflect the existing needs and demands of our milieu which-was opening up more and more to the dance. And, after having completed our 1972-Z3 season with 123 performances by the larger troupe, 157 by les Compagnons de la Danse and a larger n~mber of promotions among bur choreographers, ballet masters, teachers and students, we prepared the coming season -- our 16th -- by thinking in terms of improving and expanding the existing struct~ ures. Forgive me if I jump a little ahead by tackling this new season without saying more about the last one but the future of theatrical dance in Quebec is more important and is what concerns me most. When a child is growing, how can one prevent it from doing so? How can one reply, when others demand that this child now adolescent, shrink, shrivel up or that it stop eating to cut down its size? Must we cut off its head or legs? Must we let it die slowly of hunger? One way or another, the child can only perish. And, we are no longer talking about a child which is mine, or a child of a single family, we are talking about an adolescent belonging to us all, a fact which some people on whom the child depends do not seem to have entirely understood. To be sure, part of the problem lies in the fact that the child has grown much faster than foreseen and that others like him are demanding the same attention and the same right to exist. But if they do exist, it is because we wished their existence. And, since they 41 do exist and are becoming more and more a reflection of ourselves, we must all take on the task of searching for and finding the solutions between the impossible and the possible. Towards the end of the su1T1Tier, a hand was extended so that Les Grands Ballets Canadiens may present a shortened 16th season. I do not want to think of what could ha~pen to the next season. One thing is certain, I am ready to look for the solution by modifying and adjusting myself at any cost -- but not at all costs· -- so that our institution remains a vital instrument through which expression in the form of dance may reach the highest level of professionalism. We have the right to hope since, at the moment when we feared the worst, the hand came to help us, supported by so many others -- some of whom we knew and others we did not--. And as we are only a few days from Thanksgiving, the time seems right for thanks. Allow me then to say thank you to you all: directors, administrators, associates, benefactors, artists arid friends. If I may, I hope that this 16th season will be one of enrichment and will lead to the success of all our efforts: the establishment of a permanent structure for a ballet company in Quebec whose · most fundamental needs will be accepted and understood. · Ludmilla Chiriaeff Montr.eal SUGGESTIONS FOR "DANCE CANADA" We feel that the accent of Dance Canada should be on dance performance and actual dance activity. Meetings and administration should be kept to a minimum. We speci specifically suggest: 1) An annual dance festival related to a summer school, if possible, should. be held. Every year the festival should be held in a different location -- Niagara-on-the-Lake, Banff, Halifax, Vancouver, etc. Participating companies should be of a proven high calibre. We recommend Mr. Murray Farr as an excellent advisor on this. A company from each form of dance should be in residence choreographing, teaching and rehearsing. 2) Films of works by Canadian dance · companies should be sponsored and distributed by the. organization. The National Film Board should be persuaded to play an active role in this. These films should be encouraged in the commercial film world as well. 3)- A Canadian Dance Magazi n.e should be produced with special attention towards a directory and articles rather than reviews, with reports on activities, and biographies. A lot of attention should be given to collaborators -- musicians and designers. A concentrated effort must be directed to- / wards es~ablishing a workable liaison between administration and dancers, which means less administrative bureaucracy and more "action" for the dancers. This point cannot be over-emphasized enough. Eva von Genscy Montreal Trish Beatty, David Earle Toronto PHILOSOPHY OF THE P~ULA ROSS D~NCERS My name is Paula Ross; I was born in Vancouver, B.C. i n 1941. To be -- this seems to .be my purpose in dance; my works in the creative stage seems an intricate part of my life; I have always enjoyed draining my energy and and putting capacities to test. expression (choreography and teaching) has been my wholeness for the past eight years. Dancers have always been special because they require me to try to explain in anyway I can, my reasons for, textures, qualities, and sense of My / 42 the work itself. My dance company has never received any bursaries or grants on any level for the very simple .reason that we have never applied. I was asked by my friends what my dance group requires from the Provincial Government. Could I help to write a brief pertaining to what people such as mys~lf require? His question has since left great confusion in my mind. I teach in my school and support two children; and extra money goes into wardrobe or other things the company neeqs. Musicians, visual artists, poets have also come to spend time with us. Video tape experimenters have also helped without us having money. As Brett Wade of Stallion Thumrock said as I handed him $5.31 (which was his share of our endeavour together), ! have paid more money for less highs than that Paula." Money can certainly help but I believe it can't make an artistic endeavour happen. Only time can give me the necessary experience and facility. _! appreciate being asked for my opinion, but with all respect I believe it is up to the ' grant givers to know where money should be placed and in that sense be able to enrich the citizens of our country. Our dance home is always open. Anyway the government can give us advice or suggestions on how we could reach more people, or it can help us do ·1 t. Both would be very much appreciated. 11 Choreography to me, is placing together vi sua 1 poetry on the way things are_, how they should· be, where they are going, how t feel about-myself and the environment I see from my perception level. What I reAuire from. the government is not for me to answer. My work will continue because that is my love and the way I live. To be able to bring the Paula Ross Dance Company to more people would indeed be wonderful, but not at the ex- · pense of its princjples, because then it , would not represent itself properly. I now ask myself, being artistic director and founder, what are those principles: - to be able to take a chance (with new choreographers, ideas, concepts). to do very well artistically with what we have -- we shoijld not have to deal with how much money. - to be able to invite people into our dance home without pressuring -- the Paula Ross Dance Company will ,be a part of the coIT111unity because our people want to see it. -~the dancers will bring whafever ta1ent they have to our dance home and have the chance to use it. - musicians, painters, sculptors, poets, writers and all other artists will be welcome to do works from conception; this also includes the concept being worked. - not to make money on the backs of my fellow artist~. · We have managed for eight y'ears without funds as a share-crop company. This means all the artists work on other employment. Paula Ross Vancouver WHO IS MAN? WHERE IS GOD? WHAT IS PROFESSIONAL? All very important questions. ly unanswerable. I write with the formation of D~nce Canada officially or not on June 16, All seemingreference to which began 1973. On the day of the meeting to elect a board of directors of this organization, we were given an amendment to the objectives of Dance Canada. We were quick and not so quick to discuss a phrase which read: the active members shall be: professional dance companies and schools, associations of artists in the field of dance. Associate members shall be: amateur dance organizations, individ- 43 uals, and the public in general who are interested in dance. At which point I asked what professional meant at which point I was told it could not be defined at which point I decided the whole thing was a joke. anization of Dance Canada. ~ At a later point, a very interested and interesting dance person told me she had given a $25.00 cheque so that she and her group could become activ~ members of the organization, at which point someone told her that they may not be accepted as active members because they were not professionals. An explanation: active members vote -- associate members don't. Dance Canada should not work solely to strengthen the already professionally established groups, they're already professionally established. Miriam Adams Toronto NATIONAL BALLET OF CANADA THE 1973/74 SEASON The 22nd season of the National Ballet of Canada began when we opened for three weeks at the Forum of Ontario Place in Toronto in July. For this engagement a special shortened version of Erik Bruhn's production of Swan Lake was presented very successfu l ly as the seven performances played to capacity audiences which often swelled as more filled the hillsides, conveniently built around the amphitheatre. What I wish to express, having laid down the above formalities, is: I have worked as both a professiorTal "quote" and a nonprofessional 11 quot~. 11 Being a professional in the dance world meant, simply, I could not do what I wanted, and being non-professional means that I can do whatever I wish. Now, if we should parallel the world of dance with the world of painting The fall season commenced on September 26 or music or writing or any other of the art forms, we will find that the people · with a south-western Ontario tour of Windsor, Hamilton, and London. The programme in this working in or with these mediums are doing whatever they wish -- and I trust, case alternated the full-length Giselle with integrity. A painter paints his with three short works, Le Loup, Solitaire, paintings. A poet makes his poetry. A and Les Sylphides. Although Les Sylphides composer composes his music. What diffhas been in our repertoire almost since erentiates a professional painter from a the company was founded, the production non-professional painter? And if I just which opened the season in Windsor was a make my own dances am ·I an amateur or a new one especially produced for the company pro? I suppose if they are crummy, I'm an by Celia Franca and Erik Bruhn (our Resamateur and if they're terrific I'm a ident _Pr9ducer since early last summer). professional (if only that were true). To continue, I think it extremely important In Hamilton, the company enjoyed the and entirely essenti a1 to define the word·, distinction of beinq part of the Opening for we are building a long needed and Festival of that city's new arts complex, potentially vastly powerful organization Hamilton Place. in which I would like very much to be actively involved. I also feel it importA second tour took us to Western Canada to ant that all the people in more or less Edmo'nton, Calgary, Winnipeg, Regina, and the same position as myself, the people Saskatoon. who are working and producing and discovering on their own ground, what dancing The two full-length ballets -- Giselle is, why we are dancers, how we can comm- and Swan Lake -- were chosen for these unicate with our medium and Where is God engagements which in Edmonton, Calgary, (?) must take an active part in the orgR~gina, and Saskatoon were part of a . I 44 special dance subscription series involving: The National Ballet, The Royal Winnipeg, Les Grands Ballets Canadiens, and the Alberta Ballet Company in Calgary and Edmonton. For the performances in Winnipeg the National w~s th~ guest company. of the Royal Winnipeg Ballet, which annually includes one other dance ensemble in its regular subscription series. Ballet seems to be very popular in these western cities and attendance was so high that people frequently had to be turned away. The entire western Canada tour was made possible through a grant from the Touring Office of the Canada Counci 1 , · with whose help the National Ballet now hopes to be able to make regular trJps to _Canada. That's the National Ballet's season so far and just the beginning for our sixtyone dancers, fifty-six musicians and many behind-the-scenes people. Starting November 27, the dancers of the company will present their annual Chorea- · graphic Workshop, a showcase of new works created by the dancers themselves, with the entire company in participation. The company then moves to Ottawa's National Arts Centre for our Christmas treat -- the Nutcracker, and bac~ agarn to Toronto to wind up 1973 with the 10th anniversary of t,he Christmas Nutcracker performances in Toronto. The New Year holiday will provide only a short break for the National Ballet to catch its collective breath before Rudolf Nureyev arrives and work begins on Nureyev's own production of the Sleeping Beauty which will re~join the repertoira of Giselle, the three short ballets and the Moor's Pavane. In addit~ion, another new ballet will be created when choreographer John Neumier comes in . · January to choreograph Don Juan. The spring season will present all the above repertoire with Rudolf Nureyev as guest artist. · After March 2nd, we all say good-bye. to home base for two months. The spring tour will include the National Arts Centre in Ottawa, Boston, Chicago, San Francisco, Los Angeles, Milwaukee, Detroit, Philadelphia, Providence, and wind up in the Metropolitan Opera House of New York's Lincoln Centre. When its all over the dancers of the company will have been working steadily in rehearsals and performances for ten months, What happens after May 5th and the completion Of the 1973/74 season? Plans are already in the making for the 1974/75 season including performances once again in Toronto and Ottawa, a fall tour of Canada's Atlantic provinces, a spring tour to Europe and possibly even more. Doug Allen Toronto SASKATCHEWAN DANCE THEATRE ' Recently, many ideas of establishing a company i,n the Provi nee of Saskatchewan have been gathered together to create the structure of an organization -- the Saskatchewan Dance Theatre. Originating from the work of Saskatoon dance teacher, Miss Lusia Pavlychenko, the company is now collaborative efrort with Michele Presly Green and James Green (Aaron Braun) to establish a resident professional performing dance company in Saskatchewan. The approach taken. to become a permanent part of the culture in Saskatchewan is fostered by the need to have a solid organizational foundation. The company is presently completing the process of becoming a registered organization and has a Board of Directors. The Dance Theatr~ will be operating on a completely provfocial basis through J 45 , · lecture demonstrations and matinee performances in schools, workshops and master classes in dance schools and an annual circuit of evening performances. It's program will incorporate ballet, jazz, modern and ethnic utilizing the Pavlychenko Folklorique Ensemble. Funds will hopefully come from the Saskatchewan Arts Board, other ~ormal channels and a specially implemented company fund-raising campaign. The Saskatchewan Dance Theatre's role will be lo encourage the development of dance education and participation, especially in non-urban centres, as well as provide dance entertainment on a diversified provincial level. We are finding more people each day with a conscientious coricern, and hope to continue to the development of all dance in Canada. James Green Saskatoon ,vHAT ,vol1LD YOU IjIKE TO S~]E IN THE NEXT ISSUE ? suggestions & comments company and group activities topic of feature article list of schools what have we missed? ETC. below:

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