Company Wang Ramirez / Akram Khan Company - DanceHouse

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COMPANY WANG RAMIREZ BORDERLINE

AKRAM KHAN COMPANY CHOTTO DESH

OCTOBER 26 & 27, 2018 VANCOUVER PLAYHOUSE

NOVEMBER 21–24, 2018 SFU GOLDCORP CENTRE FOR THE ARTS CO-PRESENTED WITH

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Contemporary Art Gallery

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DanceHouse // Welcome IT IS MY GREAT PLEASURE TO WELCOME YOU to the theatre this evening as we embark on our 11th season of sensational, international dance. To returning DanceHouse Community Members you may notice a few changes this season, one of which being this very program. We’ve begun an exciting new partnership with Publishing Sponsor Artslandia, who we can thank for these gorgeous, glossy, 2 in 1 programs. The season has also expanded to include more presentations and performances than ever before. It is with your support that this series has been able to grow, flourish, and expand. Thank you!

Company Wang Ramirez first crossed my radar in 2013.

I was immediately taken in by Wang and Ramirez’s striking movement style combining explosive technique with a diverse array of forms, and have since closely followed the young company’s work. Five years later and with a number of international accolades under their belt, it is a joy to finally present the sensational Company Wang Ramirez in Vancouver, and no less as our season opener.

Borderline offers up a fluid blend of contemporary dance with diasporic identity and blunt social commentary that I hope will capture your imagination just as it did mine and excite you for the season ahead.

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IT IS WITH YOUR SUPPORT THAT THIS SERIES HAS BEEN ABLE TO GROW, FLOURISH, AND EXPAND. THANK YOU!

In November we turn the stage over to the incomparable Akram Khan Company. An acclaimed dancer and internationally lauded choreographer, Akram Khan’s work has not been presented in Vancouver for over 10 years. Upon learning of Chotto Desh’s possible North American tour, I immediately reached out to co-presenters SFU Woodward’s Cultural Programs and Théâtre la Seizième to begin planning together how we could bring this exceptional company to Vancouver. While themes of exclusion and identity are wound throughout, the work is light on its feet and filled with a luminous humanity that grounds the fantastical in the universal. Chotto Desh offers up fresh opportunity to open our doors to audiences of all ages, while bringing together movement, animation, text, sound, and light to create a series of worlds that run from the ordinary to the mythic.

If you feel moved or inspired by tonight’s performance, I encourage you to consider joining the DanceHouse family of donors this evening. I invite you to find a DanceHouse team member or volunteer to make a donation in the lobby as you leave this evening. You can also give through dancehouse.ca or by giving us a call at 604.801.6225.

Thank you for your support this evening in its many forms and I look forward to seeing you in the lobby.

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COMING UP IN 2019 JACOB BOEHME & ILBIJERRI THEATRE COMPANY (AUSTRALIA) BLOOD ON THE DANCE FLOOR February 6–9 Co-presented with SFU Woodward’s Cultural Programs and Talking Stick Festival Adult concepts (sexual & drug references), coarse language, loud music.

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OCTOBER 26 & 27, 2018 8pm

COMPANY WANG RAMIREZ BORDERLINE

Vancouver Playhouse, Vancouver BC

ARTISTIC DIRECTION & CHOREOGRAPHY Honji Wang & Sébastien Ramirez

DURATION: 70 MINUTES

PERFORMERS Louis Becker, Johanna Faye, Saïdo Lehlouh, Alister Mazzotti, Sébastien Ramirez, Honji Wang RIGGING DEVELOPMENT Jason Oettlé and Kai Gaedtke RIGGER Alister Mazzotti COMPOSITION LACRYMOBOY WITH THE PARTICIPATION OF Christophe Isselee AND THE VOICES OF Chung-Won Wang and Henri Ramirez

LIGHT DESIGN Cyril Mulon

DRAMATURGICAL COLLABORATION Catherine Umbdenstock

SET DESIGN Paul Bauer

COSTUME REALIZATION Anna Ramirez

CREATION PRODUCER IN 2013 Dirk Korell

TECHNICAL/PRODUCTION MANAGER Mike Faba

Exclusive North American Representation John Luckacovic / Eleanor Oldham info@2luck.com | www.2luck.com

CO-PRODUCTION Théâtre de l’Archipel, scène nationale de Perpignan (in the frame of a creation residency) | Théâtre de la Ville, Paris | Parc de La Villette, Paris | Initiatives d’Artistes en Danses Urbaines (Fondation de France – Parc de la Villette with the support of Caisse des Dépôts and Acsé) | Mercat de les Flors Barcelone (in the frame of creation residencies at Graner) | Act’art – Conseil départemental de Seine-et-Marne | Centre Chorégraphique National de Créteil et du Val-de-Marne / Company Käfig | TANZtheater INTERNATIONAL, Hannover SUPPORT Regional council Occitanie / Pyrénées-Méditerranée | Regional Cultural Affairs Directorate Occitanie County council Pyrénées Orientales WITH THANKS to Centre Culturel Jacques Prévert à Villeparisis for the creation residency. | HAU – Hebbel am Ufer for the research possibilities in Berlin. | With the support of Montpellier Danse, residency at Agora, cité internationale de la danse.

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Performance Text Transcription Solo Sébastien Ramirez: Sébastien’s father Do you know what “democracy” means? It’s when the people govern. People have never governed! It’s never the people who rule.

No, the world has never been fair, never.

When they demonstrate below… those who cash in 3 to 4000 euros per month, who have fortunes, they don’t accept others demonstrating. “What are they demonstrating about, those good-for-nothings?

What’s it for?” Just leave them alone. Life needs to be normal, like a quiet river…

When I’m told: “When you retire, you’ll travel”. Travel where? You want to go to Africa to see the poor people? Yes, go to Africa, make the most of it! A meal costs, what… 1€, 1.50€. You think I’d go there? I’d be ashamed. I won’t go to poor countries.

To save a nickel?

Many countries live off of tourism. But the people don’t live off of tourism! It’s the capitalists who are there and who live off of tourism. I remember in Spain, the first tourists I saw, I was young…. The Brits and Germans used to come. How my mother despaired! Because before, a kilo of potatoes cost 3 pesetas and when the tourists came, it cost 10!

My father was always poor. We were always poor even with all the tourism.

It’s all lies. This is why I don’t like this society. I rebelled. I don’t care about any of it. I don’t want to know anything about it. I’m not interested at all.

There is nothing to do. Just lock yourself up. Someone said: “If you are happy, don’t tell anyone.” Happy people aren’t liked.

It’s against nature, it’s not natural. It’s not normal. “Let’s live in hiding.” That’s why

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I feel good with my own people. I have nothing more to say.

It’s shameful.

What does it all mean? It’s over my head.

Because once you’ve eaten, once you’ve drank, once you’ve made love, what else do you want to do? Why have 200 million in the bank? To do what with?

What does it all mean?

It’s over my head.

Because once you’ve eaten, once you’ve drank, once you’ve made love, what else do you want to do? Why have 200 million in the bank?

To do what with?

Duo of dancers: Bowls of rice There was a doctor, Masaru Emoto, a Japanese man. He did experiments with water.

He did an experiment where he realized that the water molecule reacted to sound and energies. He took three bowls of rice and placed them in an apartment and three different people came to visit them during the day.

Here, I’ll give you a bowl, imagine it… I’m going to say: “I love you” to my bowl of rice.

And you say: “I hate you”. And no one say a thing to the third bowl. It’s not calculated.

The doctor proved that the bowl of rice that was said “I love you” to was edible for almost a month. What do you say to your bowl of rice?

I hate you.

Well, your bowl of rice, after just one week is no longer edible because it received bad energies.

And the third bowl that stayed alone on the table without receiving any emotion rotted after one or two days because it was ignored. Indifference kills. Even a “I hate you” keeps you living. Are you listening?

What I’m saying is very important!

It has to do with everything alive. We are made of 80% water! Understand?

I have ears! I’m listening to you.

Calligraphy: a teacher’s testimony Monday, November 17, 10:30 AM. Trade School, Gers.

I was giving my class when suddenly, without notice, four determined policemen accompanied by a dog handler decked out with his dog, barged in. They didn’t say hello or introduce themselves. With no preamble, the dog was let loose. The students were extremely surprised. I questioned the intruders asking what the purpose of their visit was. Radio-silence. I insisted and quickly understood that I’d better just shut up. The students were shocked; the atmosphere was heavy, threatening. I opened a window, and then without a word, one of the policemen peremptorily closed it.

The dog ran all over the place. It bit onto one of my student’s bags and he was then asked to exit the class. The dog drooled on a young man’s legs, terrorized. On hats, on clothes. The animal detected something suspicious in someone’s pocket, and once again, the student was asked to exit. I tried to intervene but I was silenced.

The bags were emptied in the hallway.

Wallets were opened. This operation took place in 10 classes and lasted more than an hour. Thirty suspected students were sent into a different room and were thoroughly searched. Some were stripped to their underwear. Amongst the students were minors.

In the HND class, the dog ripped apart a bag. The student then discovered his smashed computer. He’s told he can press charges if he wants.

In another room, the students were lined up in front of the blackboard. According to them and their teacher, the dog handler yelled: One move and he’ll bite your artery and you’ll end up in the hospital.”

Policemen paced up and down the hallways outside the classrooms.

I learned later that no particular event took place in the establishment to justify such a raid. The students were dumbstruck and scared.

They interrogated me once the group left.

I didn’t know what to say. I remained speechless. The element of surprise freezes you.

Beyond the legal or illegal aspect of the operation, was the ill mannered, threatening, sarcastic, aggressive and scornful attitude of the policemen. They left a classroom saying: “Bye girlies!” when of course there were only young men and congratulated them for having well stashed their dope and abusing their dogs. Real thugs wouldn’t have reacted any differently.

It was in France, in a school, in 2008.

I thought policemen were here to help people, support us, be our lucid and conscious guides. But instead of that, they barged in flaunting their power like cowboys terrorizing the young students. I wanted this to be known because it’s happening here in our schools. And it’s absolutely unacceptable.

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(belgium/netherlands)

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Photo by ©Frank Szafinski

PROGRAM NOTES Borderline marks a turning point in Sébastien Ramirez and Honji Wang’s research and choreographic language. The dance expands in a dialogue between technique and the art of rigging, while the reflection on human relationships now includes the reality of living together in our democracies. Social boundaries are evoked by the interplay of physical forces on the stage as well as through testimonies—collected from the dancers’ friends and relatives, or from the media, and broadcasted in voice over.

The rigging element allows to approach weightlessness and to create a timeless poetics. In the interaction with the rigger, the body becomes the object of a “weight game”, of balance and freedom. Attached to cables, the five dancers bring to light and transpose the desire of freedom inherent in all forms of dance, especially Hip Hop. With a wealth of

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experience in levitation, Hip Hop discovers new ways to thwart gravity in its virtuosity of footwork.

The gestures and the costumes create images that reflect Greek and Korean traditions, animality, as well as our own desires and angsts. Between the promise of freedom and the violence of keeping our bodies on the ground, is a space allowing the invention of a new gestural approach. With great fluidity, the piece displays accents of acrobatics, visual poetry and the urban universe. It extends to the ground where the gravitational borderlines shift horizontally, in a mobile scenography that continues to evolve throughout the performance.

The original soundtrack of Borderline is available on lacrymoboy.bandcamp.com and on iTunes (artist: lacrymoboy).

SPEAKING OF DANCE PRE-SHOW TALK WITH ARTISTS FROM COMPANY WANG RAMIREZ October 26 & 27, 2018 7:15pm Upper Lobby, Vancouver Playhouse

ABOUT COMPANY WANG RAMIREZ Since the creation of Company Wang Ramirez, Honji Wang and Sébastien Ramirez have produced and choreographed dance-theatre pieces that have won them many awards and accolades, such as the New York Bessie Award and the nomination for the Rolex Mentor & Protégée Arts Initiative Program.

Acclaimed by the international audience, the company is invited in major theatres and festivals, as Théâtre de la Ville, La Villette and Théâtre National de Chaillot (Paris), Sadler’s Wells (London), Apollo Theater (New York), Mercat de les Flors (Barcelona), etc. and receives the support of important international co-producers.

Wang & Ramirez developed a conceptual dance performance for the opening celebration of the arts space MADE in Berlin. In 2015, they contributed to the creation phase in New York City and choreographed for the live show of Madonna’s Rebel Heart Tour 2015/2016. In 2016, Sadler’s Wells invited them to direct and perform a dance work made to Nitin Sawhney’s album Dystopian Dream.

Wang Ramirez never seize to deepen their quest of finding new choreographic languages with means of expression built on technical virtuosity, poetry, humour and the questioning of human identities. They currently encourage and explore strong artistic collaborations with artists from different fields.

Company Wang Ramirez - Clash66 receives structural support by Regional Cultural Affairs Directorate Occitanie, by Regional council Occitanie / Pyrénées-Méditerranée and by County council Pyrénées Orientales. The company receives the support of Foundation BNP Paribas for the development of its projects. Honji Wang & Sébastien Ramirez are associated artists of Théâtre de la Ville, Paris and supported artists by l’Archipel, scène nationale de Perpignan.

Photo by ©Frank Szafinski

WWW.WANGRAMIREZ.COM @WANGRAMIREZ

@WANG_RAMIREZ

@WANGRAMIREZ

SALT. PHOTO: BRYONY JACKSON

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Company Wang Ramirez // Biographies

HONJI WANG Honji Wang is a dancer, choreographer and artistic director born and raised in Germany by Korean parents. Her dance language is an abstraction of hip hop dance and has influences of earlier martial arts and ballet training. She is recognised as an artist who brings contemporary and hip hop together in an exceptionally organic fashion.

Together with Sébastien Ramirez, Honji Wang received the Bessie Award 2013 as “Outstanding Performer” following the presentation of AP15 at the Apollo Theatre in New York. Their work Monchichi was one of the 2017 Bessie Award nominees for “Outstanding Production” following its performance at BAM Fisher.

Wang was invited to Madonna’s final auditions in New York, where her outstanding performance earned her an invitation to tour and perform for the Rebel Heart Tour. She was invited as a guest artist to perform a duo with acclaimed British choreographer Akram Khan titled The Pursuit of Now, which was accompanied by well-known pianist Shahin Novrasli. She also collaborated with the most avant-garde female flamenco dancer Rocío Molina in the duet Felahikum as well as with New York City Ballet principal dancer Sara Mearns in the duet No.1.

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LOUIS BECKER (performer) has a

SÉBASTIEN RAMIREZ Born in the south of France, Sébastien Ramirez is an internationally renowned dancer, choreographer and artistic director. Ramirez specializes in the use of aerial work as well as choreographic rigging development.

Since the foundation of his company, he developed a new vision of space and choreography, bringing hip hop dance to a wider and new audience. Following the presentation of AP15 at the Apollo Theatre in New York, Sébastien Ramirez and Honji Wang received the Bessie Award 2013 as “Outstanding Performers”. Their work Monchichi was one of the 2017 Bessie Award nominees for “Outstanding Production” following its performance at BAM Fisher.

Ramirez contributed to the creation phase of Madonna’s Rebel Heart Tour in New York City and choreographed for her live show. He also conducted a personal training on floorwork movement for the creation of Akram Khan’s solo DESH. Ramirez was also invited by Sadler’s Wells as one of the five choreographers of RIOT OffSpring, a unique dance piece performed to Igor Stravinsky’s iconic The Rite of Spring played by Southbank Sinfonia.

strong base in bboying and broadened his artistic expressions with contemporary dance, acrobatics and drama. Winner of an impressing number of battles, he is also part of different contemporary dance productions of Company Constanza Macras, touring internationally.

JOHANNA FAYE (performer) has her dance roots in breaking, with strong experiences in contemporary dance and improvisation. Johanna has been working with choreographers like Amala Dianor, Jérémie Belingard, Tishou Aminata Kane et Sylvain Groud.

CYRIL MULON (light design) is

SAÏDO LEHLOUH (performer) is a charismatic bboy who was early spotted for his extraordinary dance skills, stage presence and interpretation. From the very beginning, he participated at important dance theatre productions with artists such as Storm (Théâtre de Chaillot, Paris; National dance center CND in Pantin; Hebbel am Ufer, Berlin), Constanza Macras (Berlin) and Norma Claire (French Guiana).

JEAN-PHILIPPE BARRIOS, A.K.A LACRYMOBOY (composer) is a percussionist, drummer, composer who has been playing music with bands and collaborating with choreographers well over the past two decades. He has played for classes with companies and contemporary dance centers. As a performer—musician, dancer or actor— he is a member of many international companies, including Brodas Bros (Barcelona).

the lighting designer who has studied camera and light design and is also the company’s technical director. Serving as lighting and stage manager for Peter Brook’s company (Théâtre des Bouffes du Nord, Paris, France) for over a decade, he gained a wide scope of artistic and technical experiences.

His eclectic career reaches from documentary, video, photography to light design for theatre productions, operas and dance.

MIKE FABA (technical / ALISTER MAZZOTTI (rigger & performer) has performed and coordinated stunts, fights and physical effects on more than 500 movies, commercial and theatrical productions during the past 25 years. He headed action departments on Oscar-winning movies (special effects - The Pianist / stunts - The Lives of Others) and received nominations (Taurus, DAFF) for outstanding stunt work.

production manager) is a Production Manager and Lighting Designer for theatre and dance. Recent credits include lighting supervisor for Jacob’s Pillow Dance Festival, Pilobolus Dance Theatre, Radiolab Live: In The Dark, and Martha Clark’s Angel Reapers.

Recent production manager credits include The Kate Weare Company, The RedBall Project, and the Brooklyn BEAT Festival.

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NOVEMBER 21–24, 2018 8pm

Co-presented by DanceHouse, SFU Woodward’s Cultural Programs & Théâtre la Seizième

NOVEMBER 24, 2018 2pm

AKRAM KHAN COMPANY CHOTTO DESH DESH Artistic Direction and Original Choreography / Direction artistique et chorégraphie pour DESH Akram Khan

SFU Goldcorp Centre for the Arts, Vancouver BC

Chotto Desh Direction and Adaptation / Mise en scène et adaptation de Chotto Desh Sue Buckmaster (Theatre-Rites) Written by / écrites par Karthika Naïr, Sue Buckmaster, Akram Khan

DURATION/DURÉE: 50 MINUTES

La représentation du 22 novembre est en français.

The matinee performance on November 24 will include ASL interpretation.

MUSIC COMPOSITION / COMPOSITION MUSICALE Jocelyn Pook

LIGHTING DESIGN / CONCEPTION LUMIÈRE Guy Hoare

STORIES IMAGINED BY / HISTOIRES IMAGINÉES PAR Karthika Naïr, Akram Khan

ASSISTANT CHOREOGRAPHER / ASSISTANT CHORÉGRAPHE Jose Agudo

REHEARSAL DIRECTOR / DIRECTEUR DE RÉPÉTITION Amy Butler

DANCERS (ALTERNATING) / INTERPRÈTES (EN ALTERNANCE) Dennis Alamanos, Nicolas Ricchini

The grandmother’s fable in Chotto Desh is taken from the book The Honey Hunter by / Le conte de la grand-mère dans Chotto Desh est tiré du livre Le Tigre de Miel par Karthika Naïr, Sue Buckmaster, Akram Khan

Akram Khan’s Voice in French / Voix d’Akram Khan en français...........................Daniel Berrebi Father’s Voice in French / Voix du père en français............................................................Asil Raïs Grandmother’s voice / Voix de la grand-mère en français........Leesa Gazi / Tulika Srivastava Jui’s voice Sreya / Voix du Jui en français.............................. Skyla Adjei / Sreya Andrisha Gazi Accent Advisor / Conseillère pour l’accent....................................................................... Leesa Gazi Producer / Production Claire Cunningham on behalf of AKCT Exclusive North American representation John Luckacovic & Eleanor Oldham on behalf of 2Luck Concepts Original Visual Design / Conception visuelle Tim Yip Original Visual Animation / Animation visuelle Yeast Culture Original Costume Supervisor / Conception costumes Kimie Nakano Sound Designer / Conception sonore Alex Stein Music Engineer / Ingénieur musique Steve Parr Costume Reconstruction Advisor / Adaptation et réalisation costumes Martina Trottmann Sound and AV Engineer / Son et ingénieur EV Matthew Armstrong Technical Coordinator / Coordinateur technique Hector Murray Stage Manager / régisseur Jessica Rice Painted Head Sequence devised by / Séquence de la tête peinte imaginée par Damien Jalet, Akram Khan ‘Bleeding Soles’ lyrics written by / Paroles de ‘Bleeding Soles’ écrites par Leesa Gazi Singers / Chanteurs Melanie Pappenheim, Sohini Alam, Jocelyn Pook (voice/viola/piano), Tanja Tzarovska, Jeremy Schonfield

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PROGRAM NOTES Akram Khan’s DESH was an instant hit with audiences and critics alike when it was first presented in 2011.

Now, Akram Khan Company and director Sue Buckmaster of TheatreRites have adapted Khan’s muchloved production specifically for young audiences and families.

Chotto Desh, meaning ‘small homeland’, draws on Khan’s unique quality of cross-cultural storytelling, creating a compelling tale of a young man’s dreams and memories from Britain to Bangladesh. Using a unique mix of dance, text, visuals and sound, Chotto Desh celebrates the resilience of the human spirit in the modern world and promises to be a magical, thrilling and poignant dance theatre experience for families to enjoy together.

NOTES DE PROGRAMME

SPEAKING OF DANCE POST-SHOW TALKS Thursday, November 22 en français Saturday Matinee, November 24

Créé et présenté en 2011, DESH a connu un succès immédiat, accueilli avec enthousiasme tant par le grand public que par la presse internationale.

Aujourd’hui, Akram Khan Company et Sue Buckmaster (directrice de Theatre-Rites) reprennent ensemble cette production tant plébiscitée pour l’adapter à un jeune public.

Chotto Desh, qui signifie petite patrie, s’appuie sur la qualité unique de Khan de conter une histoire interculturelle en mettant en scène les rêves et souvenirs captivants d’un jeune homme de la GrandeBretagne jusqu’au Bangladesh.

Un mélange de danse, textes, visuels et sons, Chotto Desh met à l’honneur la résilience de l’esprit humain face au monde moderne et promet une expérience magique, palpitante et poignante pour les petits comme pour les grands.

All Post-show Talks will be held in the theatre immediately following the performance.

Tous les entretiens post-spectacle auront lieu dans le théâtre immédiatement après la représentation.

We gratefully acknowledge the artists who contributed to the original production of DESH by Akram Khan Company.

Remerciements particuliers à tous les artistes qui ont contribué à la création originale de DESH, dont Chotto Desh est tiré.

Co-commissioned by / Coproduction MOKO Dance, Akram Khan Company, Sadler’s Wells London, DanceEast, Théâtre de la Ville Paris, Mercat de les Flors Barcelona, Biennale de la danse de Lyon 2016 and Stratford Circus Arts Centre. Supported by / avec le soutien de Arts Council England World Premiere / Première Mondiale: DanceEast, Ipswich 23 October 2015 London Premiere / Première: Sadler’s Wells Theatre, London 30 October 2015 AKRAMKHANCOMPANY.NET @AKRAMKHANCOMPANY @AKRAMKHANCOMPANY

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SFU Woodward’s Cultural Programs, Chotto Desh Co-Presenter Welcome to SFU’s Fei and Milton Wong Experimental Theatre, our teaching facility and home to the School for the Contemporary Arts (SCA). SFU Woodward’s Cultural Programs works collaboratively with SCA as the in-house professional arts producer bridging the best of teaching and professional practice. Most of what we do is borne out of partnerships. Speaking of partners this is our seventh year of a wonderful relationship with DanceHouse.

EAR L TIC Y BIRD K ON ETS OCT SAL E OB ER 1ST

SFU Woodward’s Holiday tradition

Directed by RENAE MORRISEAU Starring JIM BYRNES

BAH HUMBUG! An Eastside Christmas Carol featuring over 30 live music numbers

DECEMBER 6 – 22 | EVENINGS & MATINEES SFU’S GOLDCORP CENTRE FOR THE ARTS 149 W. HASTINGS STREET, VANCOUVER TICKETS & INFO AT

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Image Richard Tetrault, Alley Variation #3, woodcut and metal print 2012, with photo of Jim Byrnes by David Cooper.

SFU WOODWARD’S CULTURAL PROGRAMS & PARTNERSHIPS Michael Boucher, Director Janice Beley, Producer Lori Strong, Project Coordinator Amy Lippett, Interim Communications Coordinator Jessica Chambers, Technical Consultant

SFU SCHOOL FOR CONTEMPORARY ARTS: Students, faculty and staff 149 Arts Society Board Susan Mendelson, Chair/President Owen Underhill, Director Laurie Anderson, Director Linda Johnston, Director Chris Arnet, Director Jim Smith, Director Elspeth Pratt, Director Duane Campbell, Director

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SFUW and DanceHouse first began copresenting the Speaking of Dance (SoD) MICHAEL BOUCHER discourse series principally featuring key artists Director, Cultural exploring artistic themes largely focused on Programs and style, interpretation and technique. These conversations by necessity began to include Partnerships (SFU) the much larger thematic issues that dance as an art form provokes on and offstage. As our contemporary society struggles to find a new norm in matters of gender, race, identity and appropriation, SoD now echoes these very real themes giving artists a greater voice in why they do what they do. SoD draws upon the expertise from all sectors to guide us through the socially progressive issues of our times. Our approach is interdisciplinary ever widening to address a changing world. Don’t hesitate to join us in that conversation!

Speaking of interdisciplinary approaches our venue is unique, ever capable of doing more experimental work and that is why DanceHouse wanted to expand their canvas with new works in less formal contexts.

SFUW primarily supports creative hybrids. Our motto is to Create/Provoke/ Transform. Last year some of you may have witnessed our first joint production venture with DanceHouse, Vanessa Goodman’s Wells Hill—a compelling choreographic and digital exploration of Marshal Mcluhan and Glen Gould.

Tonight you will experience a remarkable presentation, Akram Khan’s Chotto Desh. To do this show required an additional partnership—Theatre La Seizieme —to expand our reach while reducing our risk. We are most appreciative to them!

We hope you enjoy this beautifully intricate weave of myth, image and exquisite dance.

Tell everyone you know if you love it and don’t hesitate to tell us too!

Michael Boucher, Director, Cultural Programs and Partnerships (SFU) SFUWOODWARDS.CA @SFUWOODWARDS

@SFU-W

@SFUWOODWARDS

Théâtre la Seizième, Chotto Desh Co-Presenter Cher public, Pour plusieurs d’entre vous, il s’agira d’une première rencontre avec Akram Khan. Cet artiste européen d’origine bangladaise a présenté ses œuvres puissantes et imagées à travers le monde, mais n’en est qu’à sa deuxième visite à Vancouver. Il aura fallut trois partenaires et deux ans de travail pour aboutir à ce grand rendez-vous, et notre équipe est heureuse et fière de partager ce moment privilégié avec vous.

Avec Chotto Desh, le Théâtre la Seizième s’aventure pour une rare fois sur le territoire de la diffusion internationale.

La communauté francophone de Vancouver grandit et se transforme, et nous souhaitons que notre programmation reflète sa diversité.

ESTHER DUQUETTE Directrice artistique et générale, Théâtre Tout en gardant une place de choix à la dramaturgie la Seizième francophone canadienne, nous accueillons les paroles venues d’ailleurs.

Je tiens à remercier Michael Boucher et SFU Woodward’s Cultural Programs pour leur longue collaboration et leur constante ouverture. Merci également à Jim Smith et à l’équipe de DanceHouse, avec qui ce fut un véritable plaisir de travailler. Enfin, je tiens à souligner la contribution spéciale du Conseil des arts du Canada dont l’appui à la tournée de Chotto Desh en sol canadien nous a permis de concrétiser cet ambitieux projet.

Bon spectacle!

Esther Duquette, Directrice artistique et générale, Théâtre la Seizième TSEIZIEME.CA

ABOUT THÉÂTRE LA SEIZIÈME

Principale compagnie francophone de théâtre professionnel en ColombieBritannique, le Théâtre la Seizième crée, produit et présente depuis 1974 un théâtre inspirant et percutant. Sa programmation s’adresse aux francophones et francophiles de tous âges grâce à une saison grand public, une saison jeunesse, une série d’ateliers d’art dramatique dans les écoles et un programme de formation, de ressourcement et de développement dramaturgique pour les artistes de la scène.

Founded in 1974, Théâtre la Seizième is the main French language, professional theatre company in British Columbia.

Every year, Théâtre la Seizième presents a mainstage season, a young audiences season, a series of drama workshops, and a training and dramaturgical development program for local artists.

By continuing to produce, present and commission engaging Canadian works, Théâtre la Seizième is a dynamic leader in Western Canadians’ cultural and artistic lives. Over the years, the company has positioned itself as a major creation and presentation centre on the national cultural landscape.

february 27 — march 9 2019

8 PM Studio 16

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S URT I T L ES T UE, WED, T HU & S AT.

TICKETS AVA I L A B L E AT SEI Z IE ME. C A

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Akram Khan Company // BIOGRAPHIES ainsi que les compositeurs Steve Reich, Nitin Sawhney, Jocelyn Pook et Ben Frost. Point culminant de sa carrière, il chorégraphie en 2012 la section finale de la cérémonie d’ouverture des Jeux Olympiques à Londres. Photo by Max Barnett

de Theatre-Rites, pour le Ruhrtriennale Festival, elle assure la co-mise en scène d’une expérience déambulatoire pour Kew Gardens et développe une production pour les enfants de 3 à 6 ans qui sera en tournée en 2019.

Photo by Steven Lim

AKRAM KHAN Artistic Director/Choreographer Akram Khan is one of the most celebrated dance artists today, building his reputation on the success of imaginative, highly accessible and profoundly moving productions such as Until the Lions, Kaash, iTMOi (in the mind of igor), DESH, Vertical Road, Gnosis and zero degrees. As an instinctive and natural collaborator, Khan has been a magnet to world-class artists from cultures and disciplines such as the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, choreographers/dancers Sidi Larbi Cherkaoui and Israel Galván, singer Kylie Minogue, visual artists Anish Kapoor, Antony Gormley and Tim Yip, and composers Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost. A highlight of his career was the creation of a section of the London 2012 Olympic Games Opening Ceremony that was received with unanimous acclaim.

Directeur artistique et chorégraphe Maître de kathak (danse classique indienne) et chorégraphe contemporain, Akram Khan est loué pour ses œuvres imaginatives, accessibles et profondément touchantes qui ont chacune rencontré un vif succès. Parmi celles-ci : Until the Lions, Kaash, iTMOi (in the mind of igor), DESH, Vertical Road, Gnosis et zero degrees. Figure de la scène contemporaine mondiale, Khan a collaboré avec quelques-uns des plus grands artistes, de cultures et disciplines variées, tels que le Ballet nationale de Chine, l’actrice Juliette Binoche, la danseuse étoile Sylvie Guillem, les danseurs et chorégraphes Sidi Larbi Cherkaoui et Israel Galván, la chanteuse Kylie Minogue, les artistes visuels Anish Kapoor, Antony Gormley et Tim Yip, l’écrivain Hanif Kureishi

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SUE BUCKMASTER Director Sue is the Artistic Director of Theatre-Rites and has many years of experience as a director and puppetry specialist working with a wide variety of companies including the National Theatre, Royal Shakespeare Company and the Young Vic. In 2018 she was awarded an honorary Doctorate for her outstanding contribution to theatre.

For Theatre-Rites Sue has created 25 theatre and site-specific productions whose commissioners include Sadler’s Wells, Manchester International Festival and Salzburg Festival. In 2018 she is reimagining Theatre-Rites’ critically acclaimed The Welcoming Party for the Ruhrtriennale Festival, co-directing a walkabout experience for Kew Gardens and developing a production for 3-6 year olds to tour in 2019.

Metteure en scène Sue est la directrice artistique de Theatre-Rites et collabore depuis de nombreuses années avec plusieurs compagnies comme le Théâtre National, la Royal Shakespeare Company et Young Vic, en tant que metteure en scène et marionnettiste. En 2018, elle a reçu un Doctorat honorifique pour sa contribution exceptionnelle au monde du théâtre. Avec Theatre-Rites, Sue a créé 25 productions théâtrales ou commandes de la part, entre autres, de Sadler’s Wells, du Festival International de Manchester et du Festival de Salzbourg. Cette année, elle a réadapté The Welcoming Party, une œuvre phare

JOCELYN POOK Composer Jocelyn Pook is an award-winning composer who writes music for film, television, theatre, dance, the concert platform, and her own album projects.

Often remembered for her film score to Stanley Kubrick’s Eyes Wide Shut, other notable film scores include The Merchant of Venice, Brick Lane and L’Emploi Du Temps. She won her second British Composer Award in 2012 for her soundtrack to DESH, which accompanies Akram Khan’s dance production of the same name. This year, Pook won the BAFTA for Best Original Score for her TV film version of the stage play King Charles III written by Mike Bartlett. Photo by Zoran Pejic

GUY HOARE Lighting Designer Guy designs lighting for dance, theatre and opera. Dance includes Arthur Pita’s Metamorphosis and Mark Bruce’s Dracula (South Bank Award 2012 / 2014); also pieces for Rafael Bonachela,

Akram Khan Company // BIOGRAPHIES Mayuri Boonham, Christopher Bruce, Theo Clinkard, Laila Diallo, Shobana Jeyasingh, Henri Oguike, Seeta Patel, and Ben Wright. Theatre includes National Theatre, Young Vic, Old Vic, Donmar Warehouse, Royal Court and Almeida in London; also transfers to the West End and New York. Opera includes ETO’s King Priam and Paul Bunyan (Olivier Award 2014); also works for Royal Opera House, ENO, and Bregenz Festival. Guy is an associate artist at Wilton’s Music Hall.

KARTHIKA NAÏR Writer Karthika Naïr is the author of several books, including The Honey Hunter (illustrated by Joëlle Jolivet), which later became the grandmother’s fable in Chotto Desh. Until the Lions: Echoes from the Mahabharata, her reimagining of the Mahabharata in multiple voices, won the prestigious 2015 Tata Literature Live! Award for Book of the Year (Fiction). She was also the principal scriptwriter of DESH (2011), Akram Khan’s dance solo, and Until the Lions, Khan’s adaptation of one of the chapters of her book. Also, a dance enabler, Naïr’s closest associations have been with Sidi Larbi Cherkaoui and Damien Jalet as producer of shows like Babel (words) and as co-founder of Cherkaoui’s company Eastman. Photo by Koen Broos

Company) and Cocoon Dance Company.

Dionysios is currently touring with Chotto Desh and also choreographs work with Danae Dimitriadi that has been presented in Rotterdam and they most recently premiered their second piece ATMA in Bulgaria.

JOSE AGUDO Assistant Choreographer Jose started his career in Andalusia where he began performing as a Flamenco dancer. Slowly the world of contemporary dance became more visible as he worked throughout Europe. As a rehearsal director and assistant choreographer Jose has worked on several creations for Akram Khan Company, including DESH, iTMOi, TOROBAKA, Until the Lions, Chotto Desh, London 2012 Olympic Games opening ceremony, and Sylvie Guillem’s farewell tour Life in Progress.

Jose’s independent choreographic commissions include Phoenix Dance Theatre, ZfinMalta, ACE dance and music, Cape Dance Company and Norrdans. Jose is currently touring his sell-out production SILK ROAD, a stunning triple bill of Flamenco, Kathak and contemporary dance. Photo by Danilo Moroni

NICOLAS RICCHINI Dancer Born in the Philippines in 1988, Nicolas has worked with Pepe Hevia Danza, Fernando Madagan (Netherlands Dance Theatre) in London, Emma Martin Dance, CLOD Ensemble and Lali Ayguadé Company among others.

Nicolas was also an actor in the Oscar nominated short movie Timecode

by Juanjo Giménez. In 2014, he cofounded Dansart BCN to impulse dance education in Barcelona and Big Story Performing Arts Services in 2017 to produce and support artists in their career development. Nicolas joined Akram Khan Company in 2012 for the Opening Ceremony of the Olympic Games in London and in 2015 as a performer for international touring of the production Chotto Desh.

Photo by Alex Staffa

DENNIS ALAMANOS Dancer Dionysios Alamanos first learned how to move from nature and animals.

He began practicing martial arts at a young age and later trained in HipHop. He studied at the State School of Dance in Athens and after graduating, he collaborated with Hellenic Dance Company (No more fairytales—Anton Lachky, Vertical Road—Akram Khan

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As a DanceHouse donor, your gift reaches beyond the stage to support masterclasses with visiting artists for local pre-professional and professional dancers, and engagement events in the community to increase critical dialogue and dance literacy. Donor support also helps to provide accessible tickets for youth and arts lovers for whom ticket prices are a barrier. A gift to DanceHouse enables our local community to access the best international contemporary dance, right here in Vancouver.

–Anndraya Luui, DanceHouse Vice President

HELP

DANCEHOUSE

GROW

THANK YOU to the many of you who contributed to the overwhelming success of last season’s 10x10 Campaign which raised a total of $14,100.

The anonymous matching donor was so moved by the exceptional response that they have come back and doubled their pledge this season. Any new or renewed donations made between now and Giving Tuesday, November 27th, will be matched up to $10,000. With your help we can turn $10,000 into $20,000, setting DanceHouse up to dive into the next decade of vibrant, inspiring, international dance.

WHAT WAS LAST YEAR’S 10 X 10 CAMPAIGN?

In March 2018, a generous DanceHouse donor agreed to match every donation up to $5,000 in honour of our 10th Anniversary season. To celebrate 10 seasons, we set a fundraising goal of $10,000, meaning we needed 50 donors to give just $10 per month for 10 months to achieve our goal. By the end of the campaign 69 donors had committed to give a total of $9,100, allowing us to surpass our goal by more than $4,000!

WHAT IS GIVING TUESDAY?

Giving Tuesday is a global movement for giving and volunteering, taking place each year after Black Friday. The “opening day of the giving season,” it’s a time when charities, companies and individuals join together and rally for favourite causes.

JOIN THE CAMPAIGN this year by making a donation or renewing your monthly gift this evening in the lobby. You can also give online or contact us to learn more about various giving options, sponsorship, in-kind gifts and more. And if you do so before Giving Tuesday your gift will be doubled!

DanceHouse Development Team Jason Dubois - jason@dancehouse.ca Charlotte Newman - charlotte@dancehouse.ca

Lamondance students take a masterclass from Kidd Pivot company member Cindy Salgado.

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Speaking of Dance Pre-show Talk with artist Tero Saarinen and host Janet Smith.

MEET THE DONORS NATHAN TODD & BILLY TENG

GISA COLE

“I started donating right at the beginning because I think that what DanceHouse is doing is so important to the dance community and for the public.”

“DanceHouse is unique, because it is a presenter of dance rather than a dance company itself. This means the scope of their program is diverse, and that variety is very intriguing.” Nathan Todd pauses a moment, then adds, “Another piece of it is, they bring in work by other communities, and communities inspire each other.”

As a former dancer, choreographer and teacher, Gisa Cole is as passionate about supporting dance as she has been about doing it. You may recognize her as founder of Prism Dance Theatre, and Director of Main Dance Place, to name just a few.

Over the decade that she has been a DanceHouse donor, Gisa has seen an exciting change in dance audiences and in the future of dance in Vancouver.

“When I was a dancer our audiences were all women and a lot of our friends or other dancers. Now, I sit in the audience and I see young guys, nurses, massage therapists and other ordinary citizens in our community discussing what they like and what they don’t like. We are in a different era and it’s exciting to see.”

Sipping on a cappuccino at Faubourg’s, a favourite neighbourhood coffee house, Gisa recalls how risky it was to pursue a career in dancing. “We were in survival mode.

I remember hauling around lights in my car, setting up in schools, being exhausted. We performed to adults and kids and I thought ‘if I reach just one person’ or inspire a young person to dance, that’s exciting. Dancers live on the edge, and you have to have a fire in the belly to do it.”

Gisa feels hopeful about the future of dance in Vancouver, and sees DanceHouse as a key player in building a foundation to sustain that culture.

“I even love the name DanceHouse. It feels like you are coming to their home. They are bringing people in to see modern dance and different groups: local and Canadian companies and they have brought in some fabulous work from around the world.”

Written by DanceHouse Volunteer Sally Halliday

Nathan knows first-hand the interplay of different communities: right after graduating from the SFU Dance Program in Vancouver, he accepted a one-year contract with the Toronto Dance Theatre. “I learned a lot, including the fact that I did not want the life of a company dancer. I came back to Vancouver as planned, and married Billy [Teng]. I’ve retired as a dancer and I’m now a fitness instructor—not working exclusively with dancers, but yes, I do visit some in their studios and help with their particular issues.”

Billy Teng, an MD who specializes in pathology medicine, saw his first contemporary dance performance in 2012, when he and Nathan attended the DanceHouse presentation of the Crystal Pite / Kidd Pivott piece, The Tempest Replica. The couple has been attending DanceHouse performances ever since. The diversity of the programming is a major attraction. As Billy says, “You don’t have to love every show you see—but you come away with something, from every one of them.”

The couple became DanceHouse donors during the 2017–2018 season.

“As a former dancer,” says Nathan, “I know that revenue doesn’t come primarily from ticket sales. It comes from donors.” Billy nods agreement.“We believe in DanceHouse.

We want it to keep going.”

Written by DanceHouse volunteer Penny Williams

Speaking of Dance Pre-show Talk with Dorrance Dance artists Donovan Dorrance and Gregory Richardson and host Sas Selfjord.

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Volunteer with DanceHouse JUMP IN AND JOIN OUR FABULOUS COMMUNITY OF VOLUNTEERS!

DanceHouse volunteers can be found helping out at the theatre, working in our offices, or lending a hand on special events and behind the scenes. With such a diverse range of opportunities we strive to build and support an equally diverse group of volunteers in availability, interest, and experience.

Reach out to Volunteer Coordinator Charlotte Newman at charlotte@dancehouse.ca to learn more about current opportunities.

Join the global movement of giving on Tuesday, November 27 and give a gift to DanceHouse!

Make a cash donation and receive a personal tax credit.

Leave a legacy in your community and into the future.

Give shares and stock options and receive great tax relief.

Become a sponsor and help to build your community.

Volunteer your time and be part of the action.

Your gift strengthens the very foundation of DanceHouse.

Visit dancehouse.ca/support-us/ to make a donation online, call our office at 604.801.6225 to donate over the phone, or email Charlotte Newman at charlotte@dancehouse.ca to discuss giving opportunities.

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rob trendiak, photographer. angela, stylist. chelsea brennan, model. daniella fuentes, makeup

Cambie Location 493 W 6th Ave, Vancouver, BC 604.558.3118 Fraser Location 3588 Fraser St, Vancouver, BC 778.379.5667 rob trendiak, photographer. eliza trendiak, stylist. julia mamen (key models), model. tarah kostenko, makeup.

About DanceHouse DanceHouse presents exceptional international caliber dance of scale to engage, inform and challenge, and to offer transformative cultural experiences for Vancouver audiences and the local arts community. Founded in 2008 by Jim Smith and Barb Clausen, the series has showcased vibrant and inspiring companies from Canada and around the world.

In addition to the performances on stage, DanceHouse community engagement opportunities including round tables (Speaking of Dance Conversations), artist talks (Speaking of Dance Pre-show Talk), pre-professional and professional masterclasses lead by visiting artists, and socials with the visiting company. These events present a chance for members of the general public and the local artistic community to engage directly with the presented artists and their work.

DanceHouse is a program of the Seismic Shift Arts Society which is a provincial non-profit society and a federally registered charitable organization. Charitable registration number 86128 4255 RR0001.

Speaking of Dance Conversations

DANCEHOUSE.CA @DANCEHOUSEVANCOUVER @DANCEHOUSE _VAN @DANCEHOUSE _VAN

T H E

R O S E D A L E

O N

R O B S O N

S U I T E

H O T E L

Explore and enjoy our vibrant city.

The best of Vancouver is at your doorstep.

The Rosedale on Robson Suite Hotel provides comfort and convenience in the heart of the sports and entertainment district of downtown Vancouver.

Proud Hotel Sponsor of DanceHouse 838 Hamilton Street @ Robson • Vancouver • BC • Canada • V6B 6A2 Local: 604 689 8033 • Toll Free: 1 800 661 8870 • www.rosedaleonrobson.com

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DanceHouse In the Community MASTERCLASSES DanceHouse engages each visiting company in a series of masterclasses, offering preprofessional and professional dancers access to dance with international artists right here in Vancouver.

DanceHouse reaches beyond the theatre to engage the local community through masterclasses, roundtable conversations, artist talks and social events.

SPEAKING OF DANCE CONVERSATIONS Presented by noted writers, artists and creative thinkers, Speaking of Dance is a series of free public dialogues and roundtable conversations about the world of art, contextualizing it within culture and society.

SPEAKING OF DANCE PRE-SHOW TALKS Listen in to a conversation with the visiting artists before or after select performances. This is an excellent opportunity to gain insight into the presentation you are about to experience.

POST-SHOW SOCIALS Following select performances, join us for the Post-show Social. This is your chance to meet and chat with the artists and members of the company who performed, and also get to know members of the DanceHouse team and board of directors. Everyone is welcome.

Visit dancehouse.ca for more information about all upcoming events.

WE LOOK FORWARD TO SEEING YOU AT THE THEATRE AND BEYOND!

Speaking of Dance Conversations 2018/19 Art Criticism in the Digital Age Tuesday, 27 November 2018, 6pm Moderated by Crystal Pite, Artistic Director, Kidd Pivot

Post-identity Utopia

Tuesday, 5 February 2019, 6pm Moderated by Harlan Pruden, First Nations Cree Scholar and Community Organizer

The Objectifying Gaze in the Arts

Tuesday, 5 March 2019, 6pm Moderated by Dorothy Woodend, Culture Critic, The Tyee All conversations take place at the Djavad Mowafaghian World Art Centre, SFU Goldcorp Centre for the Arts dancehouse.ca/speaking-of-dance/

FREE

Community Engagement Partner

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Thank You

Donor List reflects donations received through September 2018.

IN THE HOUSE Bronze Room $1000–$2499

Diamond Room $10000+ Anndraya T. Luui X ∙ Deux Mille Foundation Hawthorne Foundation

Mary & Herb Auerbach X Vish Anand & Ben Leavitt Cappelleria Bertacchi Barb Clausen X Peter Dickinson & Richard Cavell X ∙ Jason Dubois & Clayton Baraniuk Lightburn Family Fund, Held At Vancouver Foundation Linda Loo & Stephen Richards Jack Lutsky & Susan Mendelson ∙

Gold Room $5000–$9999 Anonymous

Silver Room $2500–$4999 Catherine & Ian Aikenhead Robert Laing & Edward Wilson X

The McGrane-Pearson Endowment Fund (At Vancouver Foundation) Jean Orr X David & Sue Roppel Sabine Rouques ∙ Brian Rowland & Steve Atkinson X Jim Smith X ∞ Dr. Larry Stonesifer & Mr. Ronald Angress Nardia Strydom Nathan Ryan Todd

∙

NEIGHBORHOOD OF FRIENDS House $500–$999 Susan Adams Santa Aloi Ilze Bebris & Bruce Curry X Gary Bell Chung Cheong Laurie Guy-Sharp Liesl Jauk X ∙ Teresa Kirschner Anne Mauch ∙ Laura Moore ∙ Barra O’Briain Paula Palyga & David Demers ∙ Donna Welstein & Bill Ehrcke Max Wyman Anonymous x2

Condo $250–$499

Carol & Julia Carr Sheila Craigie & Jane Turner Richard Dopson ∞ Janet Erickson X ∙ Jane Fernyhough X ∙ Melanie Ferrandi ∙ Doug Fortney & Gaby Bleckmann Heather Fraser Sara Getz Conor D. Graham Cathy Grant Evelyn J. Harden Gisa Cole Laslo Reid & Brittany MacDonald ∙ Caroline Manders ∙ JoAn & Michel Maurer

Heather McPherson & Arnoud Stryd Paula Meyler Fraser Norrie & David Clarke Lorraine Portier Nancy Stern & Stephen Schachter Straits Fishing Ltd Dr. Jean Warburton Fei Wong

Apartment $100–$249

Alexander Alcid Ingrid Alderson Gina & Kevin Alpen ∙ Alexandra Barker Janice Beley ∙ Nora Blanck & Tim Rose ∙ Fran Brafman X Alison Brousson Rita Buchwitz Ann Cowan Buitenhuis Joanne Chan ∙ Deena Chochinov & Eric Posen Leanne & Brian Cuddington Chris M. Dafoe ∙ Rosemarie Daviduk Louise DeGagné & Kathleen Piovesan ∙ Peter Dodek & Hella Lee ∙ Sharleen Dumont Fiona Duncan Sally Felkai Eric Fiss X ∙ Kirsten Fiss Nina Fitzwilson ∙ Leila Getz

Tony Giacinti in Memory of Lola MacLaughlin Ron Gibbs Miriam Gil ∙ Jo-Ann G. Gordon ∙ Paul Gravett & Mark Hand Julie Hamilton Mary Hartman Daphne Harwood ∙ Henry Hawthorn Denis Howarth Meg Ida ∙ Valerie Jerome Laurie J. Jones Lynn Kagan Lynn Katey Roger Kayo ∙ Katharine Knowles Annamarie Koett ∙ Jacquie Leggatt Giorgio Magnanensi Jan Manson ∙ Laurel March Robyn Marsh ∙ Marlise McCormick Dario Meli Roberta Niemann Emily O’Neill ∙ Corey Ouellet X ∙ Cheryl Prophet Bryan Pike Larry Raskin Vanessa Richards ∙ Heidi & Paul Riggs ∙ Talia Rosales ∙

Betty Scheltgen Bernard Schulz Sharon Simpson Lori Strong ∙ Alexa Thornton Pat Tipping Vela Academy of Movement Ann & Marshall Webb Penny Williams ∙ Marnie Wilson Elizabeth & Chris Wootten Desiree Zurowski ∙ Anonymous

Guest Room up to $99

Tiffany Antoniuk Louis Conway Doug Durand Ivy Arcos Dahm Kurt Eiserman Eileen Fogarty-Elis Susan Gagne Karen Gelmon Denise Gilbert Debra Gilman Jordan Gruzelier Victoria Ann Zamoyska Henderson Nancy Herring Eva Prior Joanne Rankin & James Burton Donald Straathof Janet Venn Janet Waterman Anonymous x5

DanceHouse gratefully acknowledges the support from our generous donors.

Contact Charlotte Newman at charlotte@dancehouse.ca or 604.801.6225 to join our community of supporters.

3-YEAR PLEDGE

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∙ MONTHLY DONORS

∞ LEGACY DONORS

X 10+ YEARS

Support

DanceHouse Personnel

Season Partners

BOARD OF DIRECTORS

Publishing Sponsor ®

Community Partners SFU Woodward’s Cultural Programs 149 Arts Society Arts Umbrella SFU School for the Contemporary Arts Lamondance Training and Performing Company Harbour Dance Centre Training Society of Vancouver

Community Engagement Partner

Partners Cappelleria Bertacchi Flower Factory Rare Design

Government

Brian Rowland, President Bryan Pike, Past President Anndraya Luui, Vice President Liesl Jauk, Secretary Sabine Rouques, Treasurer Dr Vishal Anand, Director Ivy Arcos, Director Alexandra Barker, Director Rita Buchwitz, Director Douglas Fortney, Director Sara Getz, Director Conor Graham, Director Jordan Gruzelier, Director Dr Paula Meyler, Director Christopher Stott, Director

STAFF Jim Smith, Cofounder, Artistic and Executive Director Jason Dubois, Director of Patron Relations Galia Goodwin, Events Coordinator Debora Gordon, Editor: Friday Round-Up Sara Gosh, Media Contact, Murray Paterson Marketing Group Jeff Harrison, Technical Director Ann Hepper, Finance Coordinator Kevin Locsin, Patron Services Associate Heather McDermid, Digital Communications Coordinator Eduardo Meneses, Production Assistant Charlotte Newman, Development & Communications Coordinator Katie Nichols, Patron Services Coordinator Francesca Piscopo, Community Engagement Coordinator

VOLUNTEERS DanceHouse wouldn’t be where it is today without the generous support of our passionate community of volunteers. Thank you for all that you do for DanceHouse!

LEGACY GIVING AT DANCEHOUSE What will your legacy be? By making DanceHouse a beneficiary of a planned gift, you are ensuring a legacy in dance in Vancouver which benefits local, national, and international choreographers and performers, and audience members from all walks of life.

For more information about making a legacy gift, please contact Jason Dubois, Director of Patron Relations at 604.801.6225 or jason@dancehouse.ca.

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your cultural concierge Photos (left to right): Davida Monk, photo by Tim Nguyen (Citrus Photography); Jonathan Roozeman, photo courtesy of Vancouver Recital Society; Desiree Bortolussi and Valentin Chou of Ballet Kelowna, photo by Emily Cooper; Jens Lindemann, photo courtesy of Kay Meek Arts Centre.