Dance Victoria Season Program 2022-2023

VICTORIA • NANAIMO

DANCE VICTORIA SEASON SPONSOR

Another Brick in Nepal has been helping rebuild schools in Nepal since the devastating earthquakes of 2015. We and other Victorians like you are currently raising money to fund the construction of our fifth school project in Eastern Nepal.

Every child deserves an education. Your donation will help us give that to the children of Nepal.

For more information about our projects and how you can get involved please visit AnotherBrickInNepal.com

Another Brick In Nepal is a registered Canadian charity.

A student showing the kitchen in Mahendra School for the Deaf before ABIN rebuilt the entire facility.

Photos by Sumitra TournourABIN Board Member

Nepali children welcoming the ABIN team.

The children of Sharada School, our third project.

ABIN founder, Rob Tournour, at the welcoming ceremony at Him School, October 2019.

Dance Victoria Stats + Facts

Dance Victoria aspires to be:

–Fresh, savvy and innovative –Collaborative, generous and engaged –Inclusive and welcoming

By the Numbers:

Vision: Bringing the World’s Best Dance to the Stage

CONTENTS

3Dance Victoria Stats & Facts

5Welcome from the Board

7Executive Director’s Welcome

10BalletX

–Total audience (all programs): 23,000+

–Number of participants in Dance Days free classes: 3,000

–Residencies: 16

–Rough Cuts presentations: 25

–Total number of studio hours provided through Dance Victoria’s Free Studio Access program for local dancers making new work in 2022/23: 600+

–Full time staff: 4

–Contract staff: 3

Dance Victoria Studios:

–A hub for dance training and creation in our community

–12,000 square feet over two levels

–3 fully outfitted studios equipped for live and livestreamed classes

–Recent upgrades to the Vernon Studio make it fully adaptable for use as a film/television studio

–With seating risers and chairs installed, the studios can be transformed into a black box performance space that accommodates 100

–Three offices: Dance Victoria, Suddenly Dance Theatre, Protégé Dance Project

–Between 4,000 and 5,000 dance students, parents and dance makers visit Dance Victoria Studios monthly

16Royal Winnipeg Ballet with Victoria Symphony

19Nutcracker Ensemble

20Dance Days

22Out Innerspace Dance Theatre

27Chrystal Dance Prize

28BODYTRAFFIC

31Pay Your Age

34Dance Theatre of Harlem

38Ballet Edmonton with Victoria Symphony

43Night Moves

44Malpaso Dance Company

47Residencies & Studio Rentals

49Board of Directors

51Planned Giving

53Your Support Matters

55Our Supporters

58Our Sponsors

Access this program online!

Photos (clockwise from top left): BODYTRAFFIC in Baye & Asa’s The One To Stay With by Steven Pisano; BalletX’s Skyler Lubin by Vandy Photography; Dance Theatre of Harlem by Christopher Duggan Courtesy of Jacob ’s Pillow Dance Festival; Malpaso Dance Company in woman with water by Ivo Roberto Baelli

BLEIDDYN DEL VILLAR BELLIS ARTISTIC DIRECTOR

Photo: David CooperPaula Cobo Botello, VAB Graduate, Dancer with Ballet Edmonton

ABOUT

Welcome from the Board A Season of Firsts

The board welcomes you to the Royal Theatre for Dance Victoria’s Season of Firsts: our first full season in-theatre since COVID-19, showcasing four dance companies performing for the first time in Victoria, and the first season with our new Executive Director, Gillian Jones. To say the board is excited is an understatement!

In our goal to bring the World’s Best Dance to the stage, Dance Victoria strives for excellence in programming that is inclusive, celebrates diversity, and exemplifies our passion for the art form. We want to engage our audiences, artists, and community in an ongoing conversation because it is through respecting and honouring others’ perspectives that our foundation for excellence is established.

Along with our presentation of the Royal Series, Dance Victoria champions support for local and international dance artists through residencies, the Chrystal Dance Prize, and involving the community in the celebration of dance through the annual Dance Days festival.

SPREAD THE LOVE

Please support the businesses and advertisers in this program.

They help Dance Victoria bring the World’s Best Dance to our community and we couldn’t do it without them. Thank you!

None of the above would be possible without our small and dedicated staff. The Dance Victoria team works very hard to ensure our experience with dance is an enjoyable and satisfying one. The board extends our gratitude and appreciation to each staff member.

We want to thank our sponsors, donors, season subscribers, and ticket buyers. Your support is what makes this wonderful experience of dance possible. If this is your first time at a Dance Victoria presentation, welcome and thank you for being a part of our Season of Firsts

Enjoy the show!

– Colette Baty, President Board of Directors

The Royal Theatre is located on the ancestral lands of the Lekwungen peoples, also known as the Esquimalt and Songhees Nations. We extend our appreciation for the opportunity to live, create and perform on this territory.

Welcome from our Season Sponsor Derma Spa

New direction + New Season = New Excitement for Dance Victoria!

It’s wonderful to welcome you back to a LIVE season of dance after COVID-19 wreaked havoc over the past few years. You are our enthusiastic supporters who appreciate the ingenuity and energy of the Dance Victoria team that kept productions running smoothly throughout unusual times.

Dance Victoria has an outstanding history of bringing top notch talent to the stage, and as we transition to a new season, they continue to offer that same excellence.

Derma Spa is very happy to continue in partnership as Season Sponsor again this year. The goal for our business is Elements of Beauty, so it’s very fitting that we support this new season of grace and beauty, thanks to the incredible calibre of dancers that visit us in Victoria.

Enjoy every minute!

– Dr. Harlow and Jane Hollis

Photos: (top) Colette Baty; (right) Dr. Harlow and Jane Hollis by Susan Hollis

ABOUT Executive Director’s Welcome

There was an “a-ha!” moment in the DV office realizing the symmetry of this year’s theme — A Season of Firsts — coinciding with my joining the team. All four companies you’ll see in the Dance at the Royal Series are performing in Victoria for the very first time. For my family, it is our own season of firsts. This summer, we packed up our house, our baby and dogs, and made the move from Seattle to Victoria. Having grown up here, I know how lucky we are to be part of this beautiful community, and to raise our son here. (Speaking of: On one of the days that I was fortunate to spend with Stephen White before his retirement, he proclaimed, “Dance Victoria has our first baby!” Another first.)

Stephen and Bernard Sauvé curated this season with great care. To have booked this calibre of artists, during the past year when the health of international touring companies and travel infrastructure were so uncertain — is nothing short of extraordinary. You and I have the pleasure of experiencing this season, and these artists, together. At BalletX, we’ll feel the energy build towards a stunning finale, EXALT, by Canadian choreographer Jennifer Archibald We’ll move in our seats to BODYTRAFFIC and the rhythms of Micaela Taylor’s SNAP, “inspired by the ethnically-diverse, yet isolating crowds of Los Angeles.” We are going to witness the legendary Dance Theatre of Harlem, and Cuba’s

Malpaso Dance Company — a group sought-after by the world’s top choreographers.

Vancouver’s Out Innerspace Dance Theatre will perform Bygones, an imaginative new work cocommissioned by Dance Victoria at the McPherson Playhouse. Our team is also thrilled to co-produce Ballet Edmonton’s Music in Motion with the Victoria Symphony. It is the first such creative collaboration between our organizations. (You won’t want to miss the work of visionary choreographer Wen Wei Wang, including a new commission of Ian Cusson’s instrumental telling of the legend Le loup de Lafontaine, set in a northern Ontario community and exploring the intersection of Western and Indigenous cultures.) I can’t wait to experience these performances with you. A Season of Firsts and yet, a season of returning to what we know, as we once again gather in the theatre.

By the time you read this, Bernard and I are already planning the 2023/24 season! My wish is to build on the foundation of artistically excellent, boundarypushing artists presented over Dance Victoria’s history, while continuing to champion innovation, and a diversity of voices and perspectives onstage. Access is a passion of mine. As we dream together of Dance Victoria’s future, I am excited for our next steps in creating welcoming and inclusive entry points for everyone to enjoy dance. Who is not in the audience, and how do we invite them in? Perhaps more importantly, where (and how) can we share dance so all can access it? DV initiatives like Pay Your Age, our free and subsidized Studio Access Program, and Nutcracker Kids and Dance Is For Everyone have laid the groundwork for opening our doors even wider. As we forge new connections with those who have not yet accessed Dance Victoria’s programs, I encourage you to support our efforts in whatever way is meaningful to you.

Thank you for being here for what is A Season of Firsts in many more ways than one. I look forward to meeting you.

Yours sincerely,

–Gillian Jones, Executive Director gillian@dancevictoria.com

Welcome from Dance Victoria’s New Executive Director

Photos: Gillian Jones and Dance Victoria team by Jo-Ann Richards Works Photography

From left to right: Holly Vivian, Tracy Smith, Kiera Shaw, Shireen McNeilage, Gillian Jones, Bernard Sauvé

Three Locations

1887 Oak Bay Ave (South Jubilee) Victoria

2227 Oak Bay Ave (Oak Bay Village) Victoria  102 Craig Street (Historic Downtown) Duncan

Skincare & Cosmetics by Beautycounter

Available at Tulipe Noire Clothing

Two Locations

1887 Oak Bay Ave (South Jubilee) Victoria  2227 Oak Bay Ave (Oak Bay Village) Victoria tulipenoire.com

X Marks the Spot

In 2005, Christine Cox and Matthew Neenan “decided to go on an adventure together,” Cox says. They were colleagues at Pennsylvania Ballet, and both had an affinity for working with new choreographers and developing new work. “It felt like the form of ballet could really use a little bit of liberation,” Cox says. “We loved ballet, but the X was the adventure. The X was expressing ourselves, exploring, experimenting. The Ballet was the past and the X was the future…trying to open up the view of what ballet can be.”

Fast forward 17 years and BalletX now creates six to eight world premieres a season and has commissioned over 100 since its inception. Working with different choreographers means dancers must be technically versatile in ballet, contemporary, hip hop and more, depending on each choreographer’s vision. For Cox, the company’s Artistic and Executive Director, she feels it’s important “to continue to create a platform where we can hear new stories. The X is so important. X marks the spot. We need to keep going to the spot of our differences and celebrate our uniqueness.”

The X factor seems to be working. The company has put Philadelphia on the map as an international destination for contemporary ballet and its Dance Exchange in-school education program has reached 2000+ Philadelphia public school students. The X-Process features open rehearsals and talkbacks with renowned choreographers and guest artists, engaging countless patrons. In 2018, the Center for World Premiere Choreography was launched, a beautiful, 5,000-square-foot studio and administrative headquarters designed by Philadelphia’s ISA, earning an AIA Merit Award for Interiors. The Center offers evening and weekend community dance classes for all ages and experience levels to learn ballet, contemporary, and hip hop with company members and professional teaching artists.

BalletX continues to innovate and reach new audiences. BalletX Beyond Premieres is a virtual subscription to world premiere ballet and behind-thescenes dance films. The BalletX Choreographic Fellowship unites an emerging choreographer each season with a distinguished choreographer who serves as a mentor, as they both create World Premieres on BalletX. Mentors have included choreographers Trey McIntyre; Cayetano Soto; Matthew Neenan; Nicolo Fonte; John McFall and Dwight Rhoden. BalletX’s Pop Up Program, a series of 10 free pop-up performances across Great Philadelphia, reaches 2,500 community members at venues like 30th Street Station, Love Park and the Free Library. BalletX opens our season — their first time in Victoria — with this program of five incredible works. DV

THE X IS EVERYTHING

"The core foundation of the company is ballet, but the X is everything. The X is a dancer who can experiment, explore, express themselves.”

— Christine Cox, Artistic & Executive Director

Photos: (facing page): Dancers Andrea Yorita and Richard Villaverde by Alexander Iziliaev; (right) BalletX dancers Ashley Simpson & Richard Villaverde by Gabriel Bienczycki

Matthew Neenan

CHOREOGRAPHER, Increasing

Matthew Neenan began his dance training at the Boston Ballet School. From 1994 to 2007, he danced with the Pennsylvania Ballet where he was also named Choreographer in Residence. Matthew’s choreography has been featured and performed by the Pennsylvania Ballet, BalletX, The Washington Ballet, Colorado Ballet, Ballet West, Ballet Memphis, Milwaukee Ballet, Oregon Ballet Theatre, and New York City Ballet’s Choreographic Institute, among others. He has received numerous awards and grants and New York City Ballet’s Choreographic Institute’s Fellowship Initiative Award. He is the co-founder of BalletX with fellow dancer Christine Cox.

Caili Quan

CHOREOGRAPHER, Fancy Me

Caili Quan is a New York-based choreographer who danced with BalletX from 2013 to 2020. She has created works for BalletX, Owen/Cox Dance Group, UC Santa Barbara, Columbia Ballet Collaborative, and Ballet Academy East. With BalletX she performed new works by Matthew Neenan, Nicolo Fonte, Gabrielle Lamb, Penny Saunders, and Trey McIntyre, among others. Mahålang, a documentary, weaving conversations of her ChamorroFilipino upbringing in Guam, with scenes from BalletX’s Love Letter, was accepted into the Asian American International Film Festival and Center for Asian American Media Festival.

Amy Seiwert

CHOREOGRAPHER, It’s Not a Cry Amy Seiwert enjoyed a 19-year performing career dancing with the Smuin, Los Angeles Chamber and Sacramento Ballet, and became Smuin's Choreographer in Residence from 2008 until 2018. Seiwert was named one of “25 to Watch” by Dance Magazine, is the recipient of the Isadora Duncan Dance Award for Outstanding Choreography and of a “Goldie” from the San Francisco Bay Guardian. Her ballets are in the repertory of Ballet Austin, Washington Ballet, Atlanta Ballet, Colorado Ballet, and many other companies. Seiwert served as Artistic Director of Sacramento Ballet from 2018 to 2020.

Jamar Roberts

CHOREOGRAPHER, Honey

Jamar Roberts is the Resident Choreographer of Alvin Ailey American Dance Theater where he has created acclaimed works on the company such as Don’t Get Weary, Ode, A Jam Session for Troubling Times, and Holding Space. Roberts is a graduate of the New World School of the Arts and the Ailey School and has danced for Alvin Ailey American Dance Theater, Ailey II, and Complexions. He won the 2016 Bessie Award for Outstanding Performer and has performed as a guest artist with the Royal Ballet in London. Roberts joined Alvin Ailey in 2002 and retired from dancing in 2021.

Jennifer Archibald

CHOREOGRAPHER, EXALT

Jennifer Archibald is Founder/Artistic Director of the Arch Dance Company and Program Director of ArchCore40 Dance Intensives. She is a graduate of The Alvin Ailey School and the Maggie Flanigan Acting Conservatory where she studied the Meisner Technique. Archibald has choreographed for the Atlanta Ballet, Ailey II, Ballet Memphis, Kansas City Ballet, Tulsa Ballet, and many others, and worked for Tommy Hilfiger, NIKE, MAC Cosmetics and chart-listed singers and actors. She is the first female Resident Choreographer in Cincinnati Ballet’s 40-year history.

Photos: Matthew Neenan courtesy of BalletX; Caili Quan by Gabriel Bienczycki; Amy Seiwert by Keith Sutter; Jamar Roberts and Je nnifer Archibald courtesy of BalletX

Nutcracker Story Synopsis

Christmas 1913, in a large Canadian home. It’s a prosperous time in a prosperous city whose population has swollen with new arrivals.

OVERTURE

‘Tis the night before Christmas and all through the house, everything and everyone is stirring — even the mice! The people inside are getting ready for the big Christmas party. Outside, boys play hockey on the street. Friends and family start to arrive.

ACT I SCENE 1 (CLARA’S BEDROOM)

Twelve-year-old Clara is dreaming in front of the mirror, practising her ballet steps. She wants to be perfect when she dances for her Aunt Josephine, a singer who has traveled from Montreal on the train. Mama interrupts. “Where is the bow that I made for your hair?” she demands. “And where is Dieter?” Clara’s younger brother leaps out of a large armoire, brandishing a toy sword. Grandmother Marguerite comes into the bedroom and calms everyone down. Things aren’t the way Mama planned; not even the Christmas tree has been delivered. She runs downstairs while Grandmother shows the children photographs of Christmas past.

SCENE 2 (THE CHRISTMAS PARTY)

Mama, Papa and the butler are looking at the space in the living room where the tree should be. Among the guests arriving is Aunt Josephine. Resplendent in furs, she makes her entrance with fiancé, Edouard, dashing in his uniform. At last! Mr. Drosselmeier carries in a tree. Clara is introduced to his grandnephew, Julien. In no time at all, the tree is decorated, and Clara puts the star on the very top. Suddenly, the first-ever electric Christmas lights illuminate the tree! Mr. Drosselmeier hands out presents. Dieter’s army of toy soldiers is augmented by Mounted Police. Mr. Drosselmeier’s masterpiece goes to Clara — a beautifully handcrafted Nutcracker. During Christmas dinner, Clara slips away to admire her Nutcracker and imagines that he comes alive to dance with her. The doorbell rings and a bear scurries in, admires the tree and dances happily with the Christmas toys. The party breaks up in a flurry of dancing.

SCENE 3 (BEDTIME)

Clara falls asleep but is soon awakened by the terrifying Mouse King who is about to steal her beloved Nutcracker. The clock strikes midnight.

SCENE 4 (THE LIVING ROOM)

Suddenly the room starts to shift into something strange and new. Mr. Drosselmeier assures Clara she has nothing to fear. Yet, before her eyes, the Christmas tree begins to grow. Clara, surrounded by scurrying mice, tries to save her Nutcracker. The Nutcracker comes alive and chases the mice away. Dieter’s squadron of toy soldiers and Mounted Police

spring to life and battle the mice with cannons and swords. The battle takes a turn for the worse. Mouse King shoots the Nutcracker.

SCENE 5 (A MAGICAL FOREST)

Clara defeats the Mouse King and begs Mr. Drosselmeier to help her wounded Nutcracker. It’s only after Clara professes her love for Nutcracker that Mr. Drosselmeier can bring him to life again. The Nutcracker was Julien all along and he is now a handsome prince. They walk hand in hand into a magical pine forest, dancing under a sky filled with the Northern Lights. Snow begins to fall.

Intermission

ACT II SCENE 1 (THE KINGDOM)

The Nutcracker Prince and Clara travel to the Sugar Plum Fairy’s kingdom, where angels help Mr. Drosselmeier with the preparations for their arrival. The Sugar Plum Fairy gives Clara and Prince Julien a warm welcome and a ceremony ensues to honour them. Wonderful dances from different lands are performed, reminding Clara of the many people arriving every day to their country. In a beautiful pas de deux, the prince has the honour of dancing with Clara. In a farewell gesture, all the inhabitants of the magical land gather to bid Clara a happy journey home.

SCENE 2 (EARLY MORNING)

When Clara awakes, she is happy to be in her bedroom. The Nutcracker stands proudly next to her. Remembering her dream, she’s relieved to see her big brother striding into the room, alive and well, and announcing, “It’s snowing!” They bundle up, go outside and watch the snow fluttering down. DV

THE VERY FIRST NUTCRACKER

The first performance of the Christmas ballet was held as a double premiere with Tchaikovsky’s last opera, Iolanta, around the Christmas holiday season on December 18 [O.S. December 6] 1892, at the Imperial Mariinsky Theatre in St. Petersburg, Russia.

Lev Ivanov, Second Balletmaster to the St. Petersburg Imperial Theatres, worked closely with Marius Petipa, widely regarded as the Father of Russian Ballet.

Tchaikovsky accepted the commission from director of Moscow’s Imperial Theatres, Ivan Vsevolozhsky, to compose music for the charming Christmas story.

Tchaikovsky is said to have argued with a friend who wagered that the composer could not write a melody based on the notes of the octave in sequence. Tchaikovsky asked if it mattered whether the notes were in ascending or descending order and was assured it did not. This resulted in the Grand Adage from the Grand Pas de Deux of the second act where Clara/Masha dances with her magical Christmas present, the Nutcracker Prince. Among other things, the score of Nutcracker is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser-known symphonic ballad, The Voyevoda (premiere 1891).

NUTCRACKER KIDS

CAMPAIGN CHAIR

SPONSORED BY

With the generous support of many donors, Dance Victoria can provide free Nutcracker tickets to children and their caregivers of Victoria Women’s Transition House, military families, and the InterCultural Association of Greater Victoria. A big thank you to Julie Rust, a REALTOR® with Engel & Völkers. Julie has been the Campaign Chair of Nutcracker Kids for several years now. Thank you also to the Times Colonist Christmas Fund who surprised us with a donation so we can offer even more Nutcracker tickets to families and children who normally would not be able to attend! Thank you to everyone who joined us in making Christmas bright for lots of Nutcracker Kids

SUGAR PLUM PARTY

SPONSORED BY

New this year is a Sugar Plum Party in the lobbies of the Royal before all five performances of the Nutcracker. Join us for fun family activities and lots of photo opportunities.

Donate to Nutcracker Kids today!

Photos: (from top) Canada’s Royal Winnipeg Ballet’s (RWB) Chenxin Liu with RWB students by David Cooper; RWB's school students by David Cooper; RWB school students with the Mouse King by Daniel Crump

NUTCRACKER CHILDREN’S ENSEMBLE

SPONSORED BY

The scale of Royal Winnipeg Ballet’s Nutcracker is enormous: approximately 27 dancers from RWB; 45 members of the Victoria Symphony; 72 local children; 35 backstage crew; and countless volunteers come together for every performance. That’s over 180 people behind and in front of the scenes! It takes a whole community of people pulling together to make magic happen and to make it look effortless for your enjoyment.

We were elated to return to auditions in September for the company’s Children’s Ensemble — an opportunity for local dancers to perform with professional dancers on the Royal stage. Dancers from 13 different studios in the region are part of the Ensemble: Allegro Performing Arts Centre; Arabesque Dance Studio; Carlson’s School of Dance; Dance

Unlimited; Dansko Studios; Karen Clark Dance Studio Inc.; Pacific Dance Centre; Pirouette Dance Studio; Protégé Dance Project; Vertical Performing Arts; Veselka Dancers; Victoria Academy of Ballet; and Westcoast Academy of Performing Arts.

They have been rehearsing their roles under the guidance of local ballet teacher KerryLynn Turner, Bridge Program Director at Victoria Academy of Ballet. Thank you, KerryLynn, for coaching these dancers so they were physically and mentally prepared to perform on the Royal stage with the Victoria Symphony. And thank you to the dancers’ parents and caregivers who encouraged them to participate and audition. We are sure that their involvement in this professional production at the Royal Theatre will live in their memories for years to come. DV

Dance Days

January 13–22, 2023

Each winter, Dance Victoria produces a free, ten-day community celebration of dance called Dance Days. We share free classes, workshops and studio showings at local dance studios, and present works-in-progress (Rough Cuts) by some of the west coast’s hottest dance artists and choreographers at DV Studios. As a longstanding community collaboration, Dance Days engages the community in diverse and accessible dance forms, while advancing Dance Victoria’s mandate to promote dance appreciation.

Out Innerspace Dance Theatre

JANUARY 13, 2023 • 7:30 PM ONE NIGHT ONLY!

MCPHERSON PLAYHOUSE

Tickets: 250-386-6121 or DanceVictoria.com

Out Innerspace Dance Theatre kicks off Dance Days on January 13, 2023 with Bygones at the McPherson Playhouse. Creators David Raymond and Tiffany Tregarthen have performed for Victoria audiences before with their popular creations Me so you so me and Major Motion Picture, and of course, in Kidd Pivot’s award-winning Betroffenheit and Revisor Now they are bringing a work, co-commissioned by Dance Victoria through the Chrystal Dance Fund, that premiered at Bulgaria’s One Festival, and toured Europe. Bygones is a gem of dance theatre with full production value: compelling choreography; inventive lighting; ghostly architecture; and imaginative props that create magical illusions. Tregarthen explains that the work celebrates how we are shaped by what we overcome, and how something challenging can lead to something beautiful.

“…some of the city’s most exciting, ambitious dance theatre work right now, and the trip they’re offering is a rush — even if you don’t trust your eyes.” GEORGIA STRAIGHT

Join us at the McPherson Playhouse for a free, pre-show chat with a company member.

Also, as part of Dance Days, local studios are offering an array of free adult dance classes in all kinds of styles all over town. Have you ever wanted to try modern dance, ballet, flamenco, ballroom, dance roller skating and more? Well, get out your dancing shoes! Now, is your chance — for free! Look for the online calendar at DanceVictoria.com in early January 2023.

Photos provided by Dance Days participants

One of the highlights during Dance Days is the opportunity to see new works-in-progress (aka Rough Cuts) by some of the west coast’s hottest dance artists and choreographers. All performances are followed by informal discussions where the artists answer your questions about the work that they’re creating. Rough Cuts performances are free and accessible to the public, with a suggested donation of $10. Want to attend one of the works below? Visit DanceVictoria.com (Dance Days) to RSVP and reserve your seat.

Rough Cuts

Photos (from top): Mouth to Mouth courtesy of Luciana Freire D’Anunciação & Kelly McInnes; Visible Bodies Collective in Bury the Hatchet by Dean Kalyan, and Kemi Craig by Cedar Coast Photography. Photos (bottom): Rough Cuts from 2022 at Dance Victoria Studios with FakeKnot; Kemi Craig and Kayla Henry by Tracy Smith

Full artist biographies here:

Mouth to Mouth

Choreographers: Luciana Freire D’Anunciação & Kelly McInnes

A work-in-progress duet celebrating our animality, sensuality, biological cycles and interdependence with all living beings. Inspired by symbiosis, interspecies kinship and reciprocal ecology, the duo unfolds through ongoing encounters and evolutions; becoming other; becoming-with.

New Work

Choreographers & Performers: Visible Bodies Collective

Visible Bodies Collective, founded by Lindsay Delaronde (Kanienkehaka) and co-founders Cheryl Henhawke (Kanienkehaha, Seneca), Elowynn Rose (Metis), and Nicole Mandryk (Anishinaabe, Ukrainian), is an intercultural, inter-generational group of BIPOC artists and dancers, who come from many nations and places across Turtle Island. Their core value is creating safe spaces for Indigenous women to research, create, and perform. They will share a new work that weaves story and rhythm to heal past, present and future, and to orate their experiences.

Bearing Witness

Choreographer: Kemi Craig

Bearing Witness uses choreography, improvisational dance, sensory responsive technology, and audience engagement to amplify the connection between spectatorship and performativity (the interdependent relationship between certain words and actions — as when a word or sentence implies an action). During her Dance Victoria residency, Kemi Craig collaborated with multimedia artist/entrepreneur Justin Love to learn coding electronics which respond to movement and sound, and these technologies inform her work.

A Will of Their Own

Ominous, spooky, and uncertain, Bygones by Vancouver-based contemporary dance company, Out Innerspace Dance Theatre, immerses you in a haunting supernatural universe of pseudo-things, keeping you on the edge of your seat. A teacup scoots across a table on its own; dancers appear mid-air, falling; an umbrella stalks a dancer around the stage… inanimate objects seem to have a will of their own. The plotless, 70-minute work creates visual magic as objects, dancers, and scenes seem to exist on the margins of form and formlessness.

Out Innerspace Dance Theatre has dedicated over 10 years to creating extraordinary and integral dance experiences. Its vision is jaw droppingly original and the company is committed to creating abstract, visceral, challenging work. It’s no wonder: founders David Raymond and Tiffany Tregarthen have been dancers with Crystal Pite’s Kidd Pivot company since 2013. They run a pre-professional contemporary dance training program called Modus Operandi in Vancouver, and their works have toured nationally and internationally with companies like Ballet BC, Netherlands Dance Theatre 2, Hessisches Staats Ballett (Germany) and LUCODA Collective (Luxembourg). For Bygones, they explore “domestic objects as psychic tuning instruments and darkness and light as thresholds” as well as “the pact between creation and destruction.” Tregarthen says, “The saying related to the title ‘let bygones by bygones’ was a way for us to also consider how allowing things to be, however terrible or unwanted they might be in the moment, is a thing to celebrate.”

We’re thrilled to present Bygones at the McPherson Playhouse, after cocommissioning the work in 2018/19 through the Chrystal Dance Fund. It’s been torturous not presenting it in Victoria until now! Bygones premiered at Bulgaria’s One Dance Week festival, followed by performances in Germany, Quebec and Vancouver. We think it’s worth the wait! In fact, the timing is perfect, as Bygones reflects a time of rapid change, of evershifting boundaries, and of conflict and hope. It considers how we are shaped by what we have overcome, and how something challenging can lead to something beautiful.

Note: Bygones contains strobe lighting, sudden sound effects and haze. DV Photos: (facing page and this page, bottom right): Out Innerspace Dance Theatre in Bygones by Alistair Maitland; (this page, top right): Out Innerspace Dance Theatre’s Tiffany Tregarthen in mask by Lyle Reimer by David Raymond

MIXED MEDIA MASK

BY LYLE REIMER

Look for the incredible mask designed by Lyle Reimer worn by a character in Bygones that acts as an epiphany, calling to the performers to repurpose what is unresolved or lost and to make something beautiful out of what was difficult.

Born in Penticton, B.C., David Raymond began as a tap dancer, later forming the hip hop collective Over the Influence. His early career took him to Brazil, Belgium, Italy, The Czech Republic, and The Netherlands before returning to Vancouver to co-create Out Innerspace. Raymond is the 2010 Isadora Performance Award winner, creates video design for dance, has toured internationally with numerous Canadian companies and he is currently performing with Crystal Pite’s Kidd Pivot.

Tiffany Tregarthen

Born in Prince George, B.C., Tiffany Tregarthen’s early career began in New York and Seoul followed by two years in Antwerp training, performing and creating in Belgium, Italy and The Czech Republic. Alongside co-directing Out Innerspace and Modus Operandi, she has created a work for Les Grands Ballets Canadiens through their National Young Choreographer Competition, and toured internationally with numerous companies including Wen Wei Dance, Justine Chambers, Company 605, and Beijing Modern Dance Company. She has been a member of Crystal Pite’s Kidd Pivot since 2013.

Photos: (top left): David Raymond and all others by Alistair Maitland

David Raymond

“Congratulations, Robin, on creating such a lovely and informative tome de Terpsichore

All the sidebars were a great way to fold in lots of asides and mini-profiles, while the primary characters emerged as fascinating individuals. Victoria was lucky to have them. And all those compelling photos bring the story alive in a powerful way. Well done!”

– Robert Moyes MONDAY MAGAZINE

Small City, Big Talent was commissioned by Dance Victoria, with funds from the Betty Wilkinson bequest, and by the publisher, Suddenly Dance Theatre. Proceeds from the sale of this book support Suddenly’s Fountain of Youth Program for dance artists under the age of 26.

Chrystal Dance Prize

Dance Awards for Independent and Emerging Artists

The Chrystal Dance Prize helps keep creativity alive and well on the west coast, thanks to Dr. Betty “Chrystal” Kleiman, who left a bequest to Dance Victoria in 2009 held at the Victoria Foundation. The Chrystal Dance Fund is valued at more than $1.6 million, with annual interest supporting Dance Victoria’s Chrystal Dance Prize. Dance Victoria will award over $50,000 in 2022/23 between two annual awards.

The prizes are open to artists living and working primarily in western Canada (Manitoba, Saskatchewan, Alberta, British Columbia, and Yukon). The Projects award for independent dance artists supports exceptional projects with an international artist (choreographer or interpreter). The Training award supports emerging western Canadian dance artists continuing their full-time training at an international institution.

In 2022/23, the winners of the Projects award were Kevin Fraser of Immigrant Lessons and Kayla Henry of Noble Riot Dance Theatre. Winners of the Training award were Robin Butterfield and Isabel Tornqvist while Kiana Bell was the recipient of both the Training award and the Arabella and Robert Award for Dance

The Arabella and Robert Award for Dance for emerging artists is conferred annually in the spring through an application process in conjunction with the Chrystal Dance Prize — Training. Applications are open to dancers from across Canada who are continuing their training at an international dance conservatory or institution. Winners are selected by a committee of dance professionals.

Applications for the Chrystal Dance Prize — Projects are due in October while the deadline for the emerging artists applications is in April. Visit DanceVictoria.com for details. DV

Community Dance Archives

Dance Victoria’s online Community Dance Archives celebrates our region’s rich dance history. We’ve been collecting images, stories, profiles, videos and making podcasts of dancers, teachers, and productions and sharing them in the archive at DanceVictoria.com. You can participate too! The archive is interactive, which means you can upload and share images, stories, videos and more. You’ll want to check back often as we continue to add new blog posts and stories to the site for years to come.

Photos: Kayla Henry by Andrew Wierzbicki Realtor YYJ; Kevin Fraser by Yohan Kim; Kiana Bell by Andreas Zihler; Robin Butterfield by David Cooper; Isabel Tornqvist by Dan@TDFoto.ca

For the Love of Dance

Los Angeles contemporary dance company, BODYTRAFFIC, has a mission of delivering performances that inspire audiences simply to love dance. “Something we’re really committed to is a program that will make dance lovers love dance more, and that will make people who are new to dance build their love for it,” says Artistic Director/Founder of BODYTRAFFIC Tina Finkelman Berkett.

“Being a Los Angeles-based company, we’ve always had a commitment to a sense of entertainment — I think it’s something about being in the land of Hollywood and having this understanding that dance can be something that enlivens you and lifts your spirit and says, ‘It’s okay to leave the theatre feeling good.’ We love participating in the dance world in that way like — ‘Wow, that really lifted my spirits’ — especially coming out of such a challenging time.”

Finkelman Berkett’s dance career began at Aszure Barton & Artists where she was a featured dancer and Barton’s assistant. She was also a founding member of Mikhail Baryshnikov’s Hell’s Kitchen Dance touring internationally with him. In 2007, she relocated to Los Angeles and launched BODYTRAFFIC, devoted to sharing dance with people of all ages, demographics, and abilities. The company provides safe learning

environments for individuals diagnosed with multiple sclerosis, down syndrome, and autism; seniors in assisted living facilities; at-risk youth; and individuals with mobility challenges through their various outreach initiatives. Classes are geared towards building confidence, self-awareness, and the ability to communicate through dance.

The company has toured to more than 20 cities including Moscow, St. Petersburg and The Hague, and has served as United States cultural ambassadors through DanceMotion USA in the Middle East, South Korea, Algeria, and Indonesia. The dancers are widely acclaimed for “doing it all from hip hop to ballet” (LA Dance Chronicle), and the company has established an international reputation, working with famous contemporary choreographers Kyle Abraham, Ohad Naharin, Hofesh Shechter, Victor Quijada, Arthur Pita, Fernando Magadan and Micaela Taylor. This combination of superb dancers and accomplished choreographers led the Los Angeles Times to describe BODYTRAFFIC as “one of the most talked about companies—not just in L.A., but nationwide.” We’re thrilled to welcome BODYTRAFFIC to Victoria for the first time with a selection of their signature works. DV

Photos: (facing page): Joan Rodriguez in PACOPEPEPLUTO by Tomasz Rossa; (this page, clockwise from top left): Chris Kendig; Rob Latour; Tomasz Rossa

Matthew Neenan

CHOREOGRAPHER, A Million Voices

A Million Voices is inspired by the great music of Peggy Lee. Lee’s music, in response to the political climate of her time, reminds us that even during dark times, life is worth enjoying.

Matthew Neenan began his dance training at the Boston Ballet School. From 1994-2007, he danced with the Pennsylvania Ballet where he was also named Choreographer in Residence. Matthew’s choreography has been featured and performed by the Pennsylvania Ballet, BalletX, The Washington Ballet, Colorado Ballet, Ballet West, Ballet Memphis, Milwaukee Ballet, Oregon Ballet Theatre, and New York City Ballet’s Choreographic Institute, among others. He has received numerous awards and grants and New York City Ballet’s Choreographic Institute’s Fellowship Initiative Award. He is the co-founder of BalletX with Christine Cox.

Baye & Asa

CHOREOGRAPHER, The One to Stay With The One to Stay With was created in response to Patrick Radden Keefe’s Empire of Pain. Keefe’s book chronicles the Sackler family’s rise to power and their central role in the opioid crisis.

Baye & Asa’s movement art projects are directed by Amadi ‘Baye’ Washington & Sam ‘Asa’ Pratt. Individually they have performed with Akram Khan Company, Punchdrunk’s Sleep No More, Abraham in Motion, David Dorfman Dance, Gallim, Kate Weare Company and The Francesca Harper Project. They’ve presented their stage and film work internationally and they are one of Dance Magazine’s “25 to Watch” for 2022. They are currently artists in residence at the 92nd Street Y and working on commissions for Pioneer Works and The Martha Graham Dance Company.

SNAP is inspired by the ethnically diverse, yet isolating crowds of Los Angeles. It urges audiences to “snap out of” social pressures to conform, and to connect with their individuality as well as with people around them.

Micaela Taylor is a dancer, choreographer, and the Artistic Director, Founder, and Choreographer of the TL Collective. Trained in hip hop and ballet, she has created her own dance genre called Expand Practice, exuding emotion from the core, and creating varied physical shapes and textures as expressions of one’s authentic self. Her quirky style of exaggerated facial expressions, gesture, and athletic theatricality sets her work apart. A millennial, Taylor is a role model and influencer to aspiring BIPOC artists and is creating ground-breaking work that introduces commercial styles to concert dance. She has been commissioned to choreograph and teach by Rambert Dance Company, The Getty Museum, BODYTRAFFIC, Springboard Danse Montreal/Gibney Dance Company, Cleo Parker Robinson Dance, B12 Festival Berlin and Carlos Acosta’s Acosta Danza.

Alejandro Cerrudo is a Chicago based choreographer born in Madrid, Spain. His professional career includes work with Victor Ullate Ballet, Stuttgart Ballet, Nederlands Dans Theater 2, Hubbard Street Dance Chicago (HSDC), Pacific Northwest Ballet, and New York City Ballet. Cerrudo became HSDC’s first-ever Resident Choreographer in 2008 and held that position until 2018. He is currently Pacific Northwest Ballet’s Resident Choreographer, the first artist in the company’s history to have the honour of holding that title.

Photos: Matthew Neenan courtesy of the company; Baye & Asa by Umi Akiyoshi; Micaela Taylor courtesy of the company and Alejandr o Cerrudo by Jeff Cravotta

Micaela Taylor

CHOREOGRAPHER, SNAP & BODYTRAFFIC Artist in Residence

Alejandro Cerrudo CHOREOGRAPHER, PACOPEPEPLUTO

Big savings are available for Dance Victoria’s Dance at the Royal performances for 12 to 29-year-olds! Our popular Pay Your Age program is back with special discount pricing for our four Dance at the Royal Series shows (BalletX, BODYTRAFFIC, Dance Theatre of Harlem and Malpaso Dance Company), as well as Out Innerspace Dance Theatre. Call or visit the Royal/McPherson Box Offices, tell them your age, and they’ll give you a ticket for the best seat in the house that’s priced the same as your age (plus a small handling fee). Bring proof of age photo ID when you pick up the ticket. That’s it! Coming to a show with someone who is between 12 to 29 years of age? Order a PYA ticket when you buy your ticket and save while ensuring you sit together in the theatre. Ask the Box Office for the Dance Duo package. Your young companion will have to show his/her ID at ticket pick-up. More information about Pay Your Age is available at DanceVictoria.com

Photo: BalletX dancer Ashley Simpson by Vandy Photography

Empowerment Through the Arts

Arthur Mitchell and Karel Shook founded Dance Theatre of Harlem in 1969 at the height of the civil rights movement. Mitchell was the first black principal dancer at New York City Ballet in 1955 and the famed protégé of George Balanchine. His catalyst to start Dance Theatre of Harlem (DTH) is said to have been spurred by the assassination of Martin Luther King Jr. on April 4, 1968.

Mitchell began by teaching dance in a converted garage in Harlem. He would leave the doors open so passersby could see what was going on. He relaxed the dress code to encourage enrollment by young men who preferred to dance in jean shorts and T-shirts. As the school grew, he partnered with his former ballet master, Karel Shook. In 1971, they launched DTH as a neo-classical ballet company, debuting at the Guggenheim Museum to great acclaim. Later that year, Balanchine and Mitchell co-choreographed Concerto for a Jazz Band and Orchestra, which offered an unprecedented platform for the emerging company. After a prize-winning television special, Rythmetron, choreographed by Mitchell, DTH had its first full season in New York in 1974. Balanchine gave Mitchell the rights to a repertoire of recognizable modern classics for his programs, which was invaluable, and by 1979, DTH was touring internationally with a repertoire of 46 ballets.

Budding ballerina, Virginia Johnson, met Mitchell while a student at the NYU School of the Arts, and became a founding member and eventually Artistic Director in 2013. “In that first company we were an extremely diverse group of people,” Johnson says. “We were Asian, Mexican, black… I think the first white dancer didn’t come until 1970. But it wasn’t about making a black ballet company. It was to make people aware that this beautiful art form actually belongs to and can be done by anyone. Arthur Mitchell created this space for a lot of people who had been told, ‘You can’t do this,’ to give them a chance to do what they dreamed of doing.”

At a time when homogeneity was the goal of ballet companies, Johnson recalls, “Right from the beginning it was about diversity in the richness… Arthur Mitchell was creating the chance for people who had the skill—and the training—to perform, to keep challenging themselves, and to grow into world-class artists, which was not something that was happening in many other places.”

Today, DTH is legendary for its impact on international politics, challenging antiquated racist constructs through the simple act of practising and sharing art, and is an elegant example of what is possible when an inclusive approach to art is allowed to evolve and thrive. We couldn’t be more excited for this premiere of DTH in Victoria! DV

*Program subject to change

DANCE IS FOR EVERYONE

New this year is the Dance Is For Everyone program, providing Dance Theatre of Harlem tickets to families and clients of Victoria Women's Transition House and the Inter-Cultural Association of Greater Victoria. Like our Nutcracker Kids program, Dance Is For Everyone opens our doors wider, providing access to live dance performances to more people in our community.

Donate to Dance Is For Everyone today!

MEET THE CHOREOGRAPHERS

CHOREOGRAPHER, Allegro Brillante

George Balanchine is regarded as the foremost contemporary choreographer in the world of ballet. He gained notoriety as a young choreographer and cofounded the American Ballet. Balanchine was the co-founder, artistic director and chief choreographer of the New York City Ballet, and nearly every ballet company in the world has performed his work. He produced more than 150 works for New York City Ballet including The Nutcracker. He was known for his plotless ballets and neo-classical style, distinct to the 20th century. Balanchine served as the artistic director of the New York City Ballet until his death in 1983.

Helen Pickett

CHOREOGRAPHER, When Love

A former dancer with Ballett Frankfurt, Helen Pickett earned a Master of Fine Arts in Dance from Hollins University, and has created over 40 ballets for companies like American Ballet Theatre, Pittsburgh Ballet Theatre, Cincinnati Ballet, Royal Ballet of Flanders, Semper Oper/Dresden Ballet, Vienna State Opera and Scottish Ballet. From 2012 to 2017, she was Resident Choreographer for Atlanta Ballet. She was named co-director for Jacob’s Pillow Contemporary program in 2021. The Crucible, her full length for Scottish Ballet, won the UK Theatre Critics Award and the Herald Angel Award. In 2020, Pickett created Home Studies I, II, III, a Zoom Choreography Triptych with dancers from Alvin Ailey American Dance Theater, Boston Ballet, Charlotte Ballet, Dance Theatre of Harlem, Les Grands Ballet Canadians de Montreal and Royal Swedish Ballet which was shown at the Virtual Pathways Dance Festival.

William Forsythe

CHOREOGRAPHER, Barre Project (Blake Works 4)

William Forsythe is “recognized as one of the most important choreographers working today.” (The New York Times) His works have reoriented classical ballet repertoire into a dynamic 21st-century art form. Forsythe’s Blake Works are all set to the poetic ballads of Grammy-nominated British musician James Blake. Raised in New York, he danced with the Joffrey Ballet and Stuttgart Ballet. In 1984, he began a 20-year tenure as director of the Ballett Frankfurt before establishing The Forsythe Company, which he directed from 2005 to 2015. He is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. Currently, Forsythe is Professor of Dance and Artistic Advisor for the Choreographic Institute at the University of Southern California Glorya Kaufman School of Dance.

Robert Garland CHOREOGRAPHER, Higher Ground

Robert Garland was a principal dancer with Dance Theatre of Harlem. After creating a work for the DTH School Ensemble, Arthur Mitchell invited him to create a work for the company and eventually appointed him as Resident Choreographer. He was also Director of the Professional Training Program of the DTH school.

He has created works for New York City Ballet, Royal Ballet, Oakland Ballet and many others. His commercial work includes music videos, commercials and short films. He holds a Bachelor of Fine Arts Degree from the Juilliard School in New York City. He is currently the Dance Theatre of Harlem School Director.

Photos: George Balanchine courtesy of DTH; Helen Pickett courtesy of the artist; William Forsythe by Kayana Szymczak; Robert Garland courtesy of DTH

George Balanchine

+ VICTORIA SYMPHONY

Music in Motion

The Four Seasons CHOREOGRAPHY Wen Wei Wang MUSIC Antonio Vivaldi Ma mère l’oye suite MUSIC Maurice Ravel Le loup de Lafontaine — Suite for orchestra in three scenes CHOREOGRAPHY Wen Wei Wang MUSIC Ian Cusson

APRIL

Creating Music in Motion

Although we regularly collaborate with the Victoria Symphony for our annual Nutcracker production, Music in Motion marks Dance Victoria’s first coproduction with the Symphony. We are thrilled to share the artistic visions of composer Ian Cusson and choreographer Wen Wei Wang, who have created, literally, a moving program of music, marrying Wang’s compelling choreography to the emotional, intricate musical composition.

The teams at Dance Victoria and Victoria Symphony had the pleasure of attending Zoom meetings with Cusson and Wang when planning the co-production. Cusson shared the story of Le loup de Lafontaine by Thomas Marchildon, part-legend and part-history, set in the small French-speaking Ontario community of Lafontaine in 1902 — and the inspiration for the music.

Lafontaine was a meeting place of diverse peoples with various settler and Indigenous communities living in close proximity, but rarely intermixing. Each had a deep mistrust of the other. With the arrival of a wolf, they unite with the common goal of ridding their community of the intruder. However, the wolf isn’t quite the monster they make it out to be. It is gentle with children, keeps to itself, and except for killing sheep for food, it does no harm.

The wolf tests the community’s fears, rivalries, and hatred. It is a feared and hated outsider whose expulsion from the community is a means to the restoration of the divided peoples. The wolf becomes

the ultimate scapegoat: it is hunted and killed, its body is strung up in the town square, and the community comes together to celebrate a Mass in honour of its death. The community is rid of this intruder and is united — but at a cost. In the final moment, Cusson’s musical landscape of private and public moments come together. The townspeople enter the church to participate in a Mass celebrating the death of the wolf. Outside we see the child, the wolf’s only friend, crying at the foot of the wolf’s body.

When Cusson recounted Le loup de Lafontaine to the group gathered on Zoom, we fell silent, touched by the emotional intensity of the story. Then Wen Wei Wang explained how he would put this music in motion in a “contemporary and abstract way” with duets, solos and group work, incorporating masks to veil and subsequently reveal the emotions of the community, culminating in a final tableau that left us speechless… for a minute…and then asking Wang, “how are you going to do that?” To say we left the Zoom call buzzing with inspiration is an understatement.

We hope that you enjoy your experience of Music in Motion with this new choreographic commission of Le loup de Lafontaine, Wang’s The Four Seasons to Vivaldi’s timeless composition, and the instrumental performance of Ravel. A special thanks to the Victoria Symphony for being such great co-producers. We look forward to future collaborations! DV

MEET THE ARTISTS

Ian Cusson

COMPOSER, Le loup de Lafontaine

Ian Cusson is a composer of art song, opera and orchestral work. Of Métis and French-Canadian descent, his work explores Canadian Indigenous experience including the history of the Métis people, the hybridity of mixed-racial identity, and the intersection of Western and Indigenous cultures. He studied composition with Jake Heggie (San Francisco) and Samuel Dolin, and piano with James Anagnoson at the Glenn Gould School. He was also mentored by Johannes Debus. Cusson is the recipient of the Chalmers Professional Development Grant, the National Aboriginal Achievement Foundation Award, and grants through the Canada Council, Ontario Arts Council and Toronto Arts Council. He was an inaugural Carrefour Composer with the National Arts Centre Orchestra and Composer-in-Residence with the Canadian Opera Company. He is an Associate Composer of the Canadian Music Centre and a member of the Canadian League of Composers. He lives in Oakville, Ontario with his wife and four children.

Wen Wei Wang

Wen Wei Wang began dancing professionally in China in 1978. He came to Canada in 1991, where he joined the Judith Marcuse Dance Company, followed by Les Grands Ballets Canadiens and Ballet BC. In 2000, Wen Wei received the Clifford E. Lee Choreography Award and the Rio Tinto Alcan and Isadora Awards for Choreography. In 2003, he formed Wen Wei Dance which has presented his work across Canada and internationally. He has choreographed 11 full-length works for Wen Wei Dance, and original works for Alberta Ballet, Ballet Jőrgen, Ballet BC, Ballet Kelowna, Northwest Dance Project, Les Ballets Jazz de Montréal, Arts Umbrella, Simon Fraser University, Vancouver Opera and the San Francisco Opera. He was awarded the RBC Top 25 Canadian Immigrants Award. In 2018, Wen Wei was invited to be a choreographer with the China National Center for the Performing Arts in Bejing for its production of Hamlet Wen Wei assumed the role of Artistic Director of Ballet Edmonton in 2018.

Photos: Ian Cusson by John Arano; Wen Wei Wang by Cooper & O’Hara; Ballet Edmonton by Cooper and O’Hara

CHOREOGRAPHER, The Four Seasons, Le loup de Lafontaine

It's a fine art between comfort and elegance. We've been practicing.

Proud hotel sponsor of Dance Victoria

Having a sound financial plan and a tailored investment portfolio are essential to achieve your goals. It only makes sense to have your hard-earned money managed wisely. We work with many different clients and help them navigate through life's twists and turns and the different stages of their lives. Whatever challenge you face - taking time to care for family or aging parents, marrying later in life, blended families, divorce, or surviving a spouse, we help you manage the potential pitfalls and take advantage of the opportunities available to you.

Our job is to make achieving your financial goals as effortless as possible.

Please contact us for a complimentary review of your plan and portfolio. Raymond James

NIGHT MOVES SPONSOR

VICTORIA S LIFESTYLE MAGAZINE

A Slice of Havana

Cuba’s hottest contemporary dance company shares a little slice of Havana in this Victoria Premiere featuring works by company dancer Abel Rojo, Canadian Aszure Barton, Swiss superstar choreographer Mats Ek, and renowned Israeli dance creator Ohad Naharin.

Malpaso Dance Company, founded in 2012, is the country’s first independent dance company. In its short history, Malpaso has distinguished itself as an exceptionally versatile ensemble dedicated to showcasing the work of both Cuban and international choreographers. Founders Osnel Delgado and Daileidys Carrazana stepped away from the state sanctioned Danza Contemporanea de Cuba to create Malpaso. Over the last 10 years, they have been striving to remedy an underdeveloped style of Cuban dance: contemporary choreography.

With loss of government funding and warnings from friends that it was a misstep, Delgado and Carrazana took a giant stride right into the world of raising their own funds and nursing a new company into existence. Ironically, they named their company, Malpaso, which is Spanish for “misstep.”

The company has been anything but a misstep, becoming Cuba’s most popular contemporary company, selling out theatres internationally. This evening’s works, spanning exuberance, loss, power and our bodies’ innate need for connection, give you a

glimpse into what the Los Angeles Times calls “a pinchme moment, one of those times when you catch an artistic dawning.”

Malpaso makes you feel like you’re watching something completely new. Works are grounded to the floor like Martha Graham but built on the backbone of ballet. Its repertoire nods to the classics while seamlessly incorporating Afro-Cuban social dance, blossoming new ideas about movement, dance and relationships. Plus, the dancers can execute any type of movement and make it look easy.

Malpaso’s partnership with its fiscal sponsor, Joyce Theater Productions in New York, has been instrumental to its success in North America. The Joyce covers the costs of commissioning new work from renowned choreographers and pays for costumes and lighting design. Malpaso relies on its own fundraising and grants from other U.S. non-profits to assist with cultural exchange initiatives. Since it is illegal for Cuban citizens to receive a fee or salary for their performances in North America, these grants help to provide a small per diem.

“We don’t want to develop a dance factory, a place in which dancers come and go,” Executive Director Fernando Sáez says. “We want dancers to feel they can be part of this enterprise, so they have a sense of belonging.” DV

Abel Rojo

Abel Rojo graduated from the National School of Modern Dance in 2010. He has been a member of companies such as Danza Contemporánea de Cuba, DanzAbierta and the theatre ensemble El Ciervo Encantado. He has worked with choreographers such as Mats Ek, Rafael Bonachela, and Susana Pous, among others. He is a full-time company artist with Malpaso, joining the company in July 2016.

Mats Ek danced with Cullberg Ballet, Düsseldorf Ballet and Nederlands Dans Theatre (NDT) and choreographed his first work for Cullberg Ballet in 1976. He became co-director of Cullberg Ballet (alongside his mother) from 1978 to 1985, and sole director from 1985 to 1993. He left Cullberg Ballet in 1993 to become a freelance choreographer.

Ek has choreographed works for major companies like NDT, Hamburg Ballet, Cullberg Ballet and Paris Opera Ballet. He has won the Prix Benois de la Danse and has been awarded several Emmys for TV adaptations of his ballets.

Aszure Barton

CHOREOGRAPHER, Indomitable Waltz

Aszure Barton, an award-winning Brooklyn-based choreographer, was born and raised in Canada. She has created many works for her own company, Aszure Barton & Artists, in addition to works for Mikhail Baryshnikov, Bolshoi Ballet, Alvin Ailey American Dance Theatre, American Ballet Theatre, The English National Ballet, Nederlands Dans Theater, The National Ballet of Canada, Bayerisches Staatsballett, and Ballet du Rhin, among many others. Other works include choreography for the Broadway revival production of The Threepenny Opera directed by Scott Elliott and over a dozen international film projects. Barton is an official Ambassador of Contemporary Choreography in Canada and has received numerous accolades including Canada’s prestigious Arts & Letters Award. Her works have been performed on prestigious stages including Palais Garnier, The Kennedy Center, The Stanislavsky Theater and Sadler’s Wells.

Ohad Naharin

Ohad Naharin is a choreographer and the Artistic Director of Batsheva Dance Company. Born in 1952 in Mizra, Israel, he began his dance career with Batsheva in 1974 and made his choreographic debut in New York in 1980. In 1990, Naharin was appointed Artistic Director of Batsheva Dance Company and established its junior division, Batsheva — the Young Ensemble. He has created over 30 works for both companies and set pieces on other companies including Nederlands Dans Theater, the Paris Opera Ballet, and Les Grands Ballets Canadiens de Montréal. In addition to his stage work, Naharin developed GAGA, the innovative movement research and daily training of Batsheva’s dancers that has spread globally among both dancers and nondancers. A citizen of both Israel and the United States, Naharin currently lives in Israel with his wife, dancer and costume designer Eri Nakamura, and their daughter, Noga.

Photos: Abel Rojo by Todd Rosenberg; Mats Ek courtesy of the company; Aszure Barton by Kampnagel; Ohad Naharin by Bruce Long

CHOREOGRAPHER, Carrying Floor

Mats Ek CHOREOGRAPHER, woman with water

CHOREOGRAPHER & LIGHTING DESIGNER, Tabula Rasa

Photos: Kathy Lang; Aiden Cass by Sarah Hutton; Sarah Hutton by Richie Lubaton; David Ferguson by Miles Lowry; Kelly McInnes; L uciana Freire D'Anunciação; Jordan Dalley by Jason Niles; Amber Downie-Back by Niks Vignal; Kiera Shaw by Natalie Shaw; Constan ce Cooke; Kemi Craig by Cedar Coast Photography; InterdepenDANCE courtesy of the Company; Lee Ingram; Kayla Henry by Andrew Wie rzbicki @RealtorYYJ

Dance Victoria Residencies A nationally recognized centre for dance creation

Dance Victoria is best known for its Dance at the Royal series bringing the World’s Best Dance to Victoria, but the heart of what we do is at Dance Victoria Studios.

Dance Victoria Studios have become a valued community asset. Offering access to our studios and financial support to independent dance artists is an opportunity to contribute to the vitality of the sector in a time of rebuilding.

In 2022/23, Dance Victoria will offer dance residencies to local and visiting artists, furthering its mandate as a creation hub for new dance works. We welcome Amber Downie-Back, Constance Cooke, Luciana Freire D’Anunciação and Kelly McInnes, Jordan Dalley, Kathy Lang, Kayla Henry (Noble Riot Dance Theatre), Kemi Craig, Kiera Shaw, Lee Ingram, Sarah Hutton and Aiden Cass (Generous Mess Dance), and David Ferguson (Suddenly Dance Theatre). We’ll share the works of these artists throughout the year at live presentations in our studios and online. DV

Studio Rentals

Dance Victoria Studios are located at 2750 Quadra Street in Victoria and are available to rent for dance classes, rehearsals and dance related events. With support from the City of Victoria, we have created a film-ready studio with new LED lighting and curtains to transform it to a black box for enhanced filming and live presentations. Our mandate is to rent our three studios to local dancers and dance professionals, but we also rent to fitness instructors and other arts organizations in the community. Dance Victoria supports the work of local dance artists through its Studio Access Program. Visit DanceVictoria.com for more information.

Dance Victoria Studios 2750 Quadra Street Victoria, BC V8T 4E8 250-595-1829

For studio rental enquiries, contact studios@dancevictoria.com.

Row 1: Kathy Lang, Aiden Cass, Sarah Hutton, David Ferguson

Row 2: Kelly McInnes, Luciana Freire D’Anunciação, Jordan Dalley, Amber Downie-Back

Row 3: Kiera Shaw, Constance Cooke, Kemi Craig, InterdepenDance Collective

Row 4: Lee Ingram; Kayla Henry

Host Your Class or Event at Dance Victoria Studios

ABOUT Board of Directors

Dance Victoria is mandated to enhance the appreciation of dance in the Capital Region by presenting and developing professional dance, supporting emerging artists and choreographers, and engaging the community in the experience and celebration of dance. Meet the dedicated board of directors that support the organization in realizing its mandate. DV

As of November 13, 2022 prior to our Annual General Meeting

DANCE VICTORIA’S RESOURCE COUNCIL

(As of October 15, 2022)

Dance Victoria is fortunate to have the support and advice from a unique group of highly skilled community leaders in Victoria. They comprise our resource council to assist staff and our board in multiple ways. We applaud their service to our organization. Thank you to council members Franc D’Ambrosio, Mary Desprez, Gwen Howey, Dr. Allana Lindgren, Kari McLay, Bob Milne, Lynda Raino, and Kirsty Thomson.

Photos: Courtesy of Board directors. Joost Pelt Photo Cylla von Tiedemann

Stacey Horton

Kayleigh Harrison

Carrie Smart

Colette Baty, President

Maggie Bartold

Joost Pelt

Julie Robinson

A Novel of….. DREAMS DANCE DANGER &

The perfect gift for those who love dance, by local author, Mary Spilsbury Ross

Munro’s Bookstore, Bolens, Amazon, Kindle www.mspilsburyross.com

At the heart of every community, you’ll find organizations fueled by committed people who are passionate about building a better future for us all. We are inspired by our friends at Dance Victoria Society and their continuous efforts to showcase the world’s best dance at the Royal Theatre while supporting the development of new dance from its professionally outfitted studios in Victoria’s Quadra Village.

Canada.

The best way to support a community is to be a part of it.

Join Dance Victoria’s Legacy Circle

Planned Giving

We are pleased to recognize the individuals who have named Dance Victoria in their wills and estate planning. Over the past few years, Dance Victoria has been very fortunate to receive bequests and funds that will ensure the long-term sustainability of our organization and important programs in our community including support from friends like Betty Wilkinson, Hugh Macpherson, and Dr. Betty “Chrystal” Kleiman. In recent years, three people have stepped forward to establish funds at the Victoria Foundation with specific initiatives in mind. The annual disbursements from these funds are managed by Dance Victoria to bring the donors’ initiatives to fruition. We thank donors Arabella Martin, Robert Britten and Patricia Pitts for their insight, innovative thinking, and their desire to bring benefit to the local and national dance community.

The Arabella and Robert Award for Dance is conferred annually and began in the Spring of 2022 through an application process managed by Dance Victoria. Applications are open to dancers across Canada who are continuing their training at an international dance conservatory or institution. Winners are selected by a committee of dance professionals.

The Patricia Pitts Dancer Access Program will support adult dancers (18 years +) in the community who face financial barriers that prevent them from purchasing tickets to dance performances. Working in consultation with one or two of the region’s adult dance instructors, students will be selected annually by Ms. Pitts in consultation with Dance Victoria Society. DV

WOULD YOU LIKE TO LEAVE A LEGACY?

When you make a bequest to Dance Victoria, you are contributing to Victoria’s vital cultural sector, enhancing the quality of life in our region, and ensuring dance artists continue to have a home where they can research, create, and perform both here and around the world.

To speak about leaving personal legacies, please contact Dance Victoria Executive Director Gillian Jones at 250-595-1829 or gillian@dancevictoria.com.

Dance Victoria Society #111 – 2750 Quadra Street Victoria, BC V8T 4E8

Charity Number: 87377 5522 RR0001

Would You Like to Establish a Donor-Directed Fund?

Arabella, Robert, and Patty recognized a need in services for young and mature dancers and, in conversation with Dance Victoria, they devised a program administered by our organization to address the gap. All three of these donors established funds at the Victoria Foundation knowing that their contribution would not only be held in perpetuity, but that it would be invested and grow over time. Secondly, Canadian Heritage has a program whereby Dance Victoria is eligible to apply to match (dollar for dollar) any contribution to these funds, which means the value of the fund, and thus, the value of the disbursement, grows quickly over time. Do you have an idea? Contact Dance Victoria Executive Director Gillian Jones at gillian@dancevictoria.com or 250-595-1829. DV

Patricia Pitts

Arabella Martin, Robert Britten

SUPPORT Your Support Matters

Designing the Future

For over 25 years, Dance Victoria has presented the World’s Best Dance, bringing internationally acclaimed companies, new commissions, and innovative, diverse emerging artists to the stage. At the same time, we are deeply invested in this community. No other dance presenter of our scale invests close to $100,000 annually to support advanced training and residencies for local artists that provide vital space for exploration and growth.

What the Dance Victoria team has accomplished during its history — and particularly through the challenges of the past two years — is truly remarkable. Last season, in response to the COVID-19 pandemic, Dance Victoria launched a virtual “Home Season” with the aim to keep audiences inspired, artists working, and our staff engaged. We strengthened our support of local residency artists, seeking out grant opportunities that allowed us to renovate DV’s studios and provide state-of-the-art equipment for livestreaming and the creation of dance films. Last, but certainly not least, we forged new connections in the community, sparking creative partnerships to further our mission (including the popular Dance Video Contest with the Inter-Cultural Association of Greater Victoria!)

We could not have accomplished any of this without the support of people like you. As we imagine Dancer Victoria’s next 25 years, I’d like to make two requests. To the amazing donors and sponsors who so generously support Dance Victoria: first of all, thank you! I hope you will consider renewing your gift in 2022/23. Your support is critical as we continue to rebuild in the wake of the pandemic — and as we design the future of this organization together.

To those who are newer to Dance Victoria (or perhaps attending a performance for the first time): I invite you to consider how engaging with Dance Victoria could be most meaningful to you. There are many ways to get involved including volunteering, board service, community engagement, or applying for an artist residency, to name a few. I encourage you to approach me, our staff or board members if you’re interested in getting involved, or if you have another idea for supporting this work. We’d love to meet you.

With gratitude, Gillian Jones, Executive Director Dance Victoria

About Dance Victoria

Dance Victoria is dedicated to bringing the World’s Best Dance to Victoria and supporting the development of new works from its beautiful studios in Quadra Village. As a non-profit charitable society, Dance Victoria operates with the mission to promote the appreciation of dance by developing and presenting diverse local, Canadian, and international artists, and by engaging the community in the celebration of dance. Charitable Registration #87377 5522 RR0001

Dance Victoria Office & Studios

#111 – 2750 Quadra St. V8T 4E8

Phone 250-595-1829 Fax 250-590-7209 Website DanceVictoria.com Email info@dancevictoria.com

ALL OF OUR DONORS RECEIVE:

–Acknowledgement in Dance Victoria’s house program

–A charitable tax receipt (for donations $10 or greater) in accordance with the Canada Revenue Agency

Friend ($10–$99)

–Voting privileges at the Society’s Annual General Meeting

Associate ($100–$249)

All of the above listed benefits plus: –Three issues of our popular Footnotes newsletter

Supporter ($250–$499)

All of the above listed benefits plus: –Invitations to post-show receptions at the Royal

Patron ($500–$999)

All of the above listed benefits plus: –Invitations to exclusive studio showings of new works, or other events, including artist conversations and receptions

President’s Circle ($1,000–$2,499)

All of the above listed benefits plus: - Invitation to backstage tours (when available) Invitation for you and a guest to attend an exclusive dinner event

Visionary ($2,500 +)

All of the above listed benefits plus: –Invitation for a personal meet & greet with the Production Team and Artists (when available)

Dance Victoria Staff

Gillian Jones Executive Director

Bernard Sauvé General Manager

Shireen McNeilage Operations Manager

Tracy Smith Marketing Manager

Holly Vivian Production Manager

Kiera Shaw Studios Bookings Manager

Wendy Mahon Bookkeeper

Rayola Creative Graphic Design

Bonnie Light Advertising Sales promote@bonnielightadvertising.com

Our Supporters Thank you for believing in us!

Every contribution you make to Dance Victoria matters and is appreciated. You can support our general fund, direct your contributions to our presentations, invest in commissions and residencies, or support a specific program like Nutcracker Kids. We’re excited to see Dance Victoria continue to grow and flourish thanks to these supporters and donors!

Donations received between October 1, 2021 – October 1, 2022

SPONSORS

Jane & Dr. Harlow Hollis — Derma Spa

Pheng Heng — Jawl Bundon LLP

Kari McLay — Tulipe Noire / Beautycounter

Susan Snell — Cameron Izard Snell

Chartered Professional Accountants LLP

Kirsten McGhee — Jones Emery LLP

Scott Elias, Darren Ausmus — Luxe Home Interiors

Kirsty Thompson — Willow Wealth Management of Raymond James

Rob & Sumitra Tournour — Another Brick in Nepal

Gregory Damant, Peter Johannknecht — Cascadia Architects

Steve Tranfield

Andy Stephenson — Sotheby’s Realty

Joy Mauro — Turnabout

Lise Gyorkos, Georgina Camilleri — YAM magazine, Page One Publishing

Amy & Ellen Cole — Toes ’n’ Taps Dance Shoppe

Carmen Ryujin — RBC Foundation

Gwen Howey & Franc D’Ambrosio — d’ambrosio architecture + urbanism

Carmen Stossel — Royal Bank of Canada

Julie Rust — Engel & Völkers

Bleiddyn Del Villar Bellis — Victoria Academy of Ballet Suzanne & Jayne Bradbury — Fort Properties Ltd.

Rebecca Burrows — Hughes Clothing

Natalie Grunberg-Ferreira — The Natural Hair Salon

Carmen Lassooij — Charelli’s Cheese Shop, Delicatessen & Catering

Greg, Ollie & Allysa Hawes — Fastrac Print & Marketing Kevin Sing — DFH Real Estate Ltd.

IN KIND SUPPORT

Mark Paul, Joan Zimmer — Chateau Victoria Hotel & Suites

Jay Minter — Helijet Airways

Aitan Roubini — Mac Zen

Andrea Posno-Walker — Poppies Floral Art

Royal & McPherson Theatres Society

Times Colonist & Times Colonist Christmas Fund

VISIONARY

Brenda Eaton Lorna Harris

Beverley & David King, A&A King Family Foundation

Sandra Lee, Mae & Yan Lee Foundation

Allana C. Lindgren & Ted L. McDorman BBC

PRESIDENT’S CIRCLE

Anonymous x 3

Mavis Begg [NK]

Elizabeth Borek

Paul & Sharon Bundon [NK]

Douglas D. Durand Laurie Guy-Sharp

Susan K.E. Howard & Gregory Krantz [NK] In Honour of S. Bolton & D. Wong Vivian Love Robert Milne Rod Mitchell

Bijan & Nasrin Neyestani Foundation John & Susan Pallett

Julie Robinson Jan & Diane Skirrow

PATRON Anonymous Colette Baty & Allan Castle Andrew Beckerman

Sylvia Bews Wright [NK]

Laurie Farley

Irene Fizzell [NK]

Mark & Diana Gillis [NK] Bill Graham & Helen McDonald

Kayleigh Harrison & Ryan Cole Marnie Hill

Charlene & Eric Kerr Lois McNabb [NK] Joan McNeely

Robert Milllar Roy Nikaido Jean Orr [NK] Merv Porath [NK, BBC]

Pauline Price

Brendan Ralfs

Carrie Smart Patricia Taylor Christopher & Randene Tolhurst

SUPPORTER

Anonymous x 7

Douglas Baer

Andrea Baudic

Christine & Michael Bloomfield

R. Dwight Brewster

Ralph Durand [NK]

Lorraine Garcia-Meredith & Jack Meredith

Gillian Garnett

Norah Garyali

Eleanor Gjelsten [NK]

Renate Grinfields

Barry Herring & Trish Shwart

Jennifer & Philip Hill

Nancy Kenyon

Deborah Knott

Kathleen McCann

Kari McLay & Bill Myles [NK]

Betty Molnár & Bob Wallace

Joy Olesky

R. Joan Penny

Boyd Porteous

Prov. Employees Community Services Fund

Susan Ross [NK]

Krista Schlosser

Susan Snell

Terry Vatrt

Frances Wren

Barbara & David Young Brian Young

ASSOCIATE

Anonymous x 7

Robert Adair & Deborah Acheson

Shelley Andrews

Niels Anthonsen & Sarah Bradley [NK]

Nicole Ardiel [NK]

Joan E. Athey

Kevin Attewell

Karen Ayers

Mario Baff & Teresa Pryce

Linda Barnes

Maggie Bartold

Alana Best

Sandra Bitz

John Boehme

P. M. Bond

Marianne Bromley

Sandra Brunham

Kathryn & Pierre Burke

Rosie Burn

Elena Buscher [NK]

Miriam Caplan

Paula Carey & Nicholas Wemyss

Barry Carlson

Elizabeth & George Cornett [NK]

Margaret Cornish [NK]

Jacquie Corrigan

Barbara Costigan

John & Elizabeth Cruickshank

Donna Curtis [NK]

Trudy David

Joan E Davis

Leslie DeAthe

Tony deRosenroll

Nora Devito

Lorrainne Dixon

Allan & Jan Dong Mary Catherine Doyle

Melanie Drumm Susan Farmer Margo Farr Henny Fleischer Jack & Valerie Foster

Jo-Ellen Graham

Alex Grey

Shelly & John Hilditch Helen Hoeve

Penny Hooker

James & Lindiann Hopkins

Barbara & Myer Horowitz [NK] Neil & Barbara Jackson

Charles Joerin & H. Grant Sullivan

Mary Kimpton

Louise Klaassen

Janice Krieger [NK]

Dr. Whitney Laughlin [NK] Kate Lawes & Curtis King Ben & Carla Levinson

Susan Link Pam Lowings

Rowena Lunn

Barbara Luten Erik Lythgoe

Bernadette MacIsaac

Susan MacKenzie

Bob & Lynda Malpass [NK]

Cheryl Martin & Tom Ramsay

Lynn Martin

Rod & Marilyn McCrimmon [NK]

Jennifer McDonell

Teresa McGuire

Kaye Melliship & Ian Wilson Anne Moon

Monique Moore

Michael F. Morres [NK]

Bridey Morrison Morgan

Yolaine Mottet

Robert Moyes & Lynne Bain [NK]

Sara Neely [NK]

Jenny Nelson

David & Mandy Niddrie [NK]

Paula Noel

Ailsa Odermatt

Chanda Pacholuk

Michael Patrick Sharlene Patterson

Joost Pelt

Betty Person

David & Rebecca Raworth

Donna Rhodes

Joan Ross

Margo Ross & Michael Mawdsley

Mary Ross

William Rowe

Catherine Ryan

Karina Sangha

Judi Schulz

Jill Sechley

Adrienne Shaw [NK]

Dr. Kathleen Simas

Holly Slaney

Bonita Smith

Brian & Barbara Smith

Marilyn & Stephen Smith

Frances Stetson

Judy Stewart [NK]

Veronica Stinson

Carole Summerfeldt

Iris Thomson-Glen [NK]

Margaret Thornthwaite [NK]

Jane Tice [NK]

Steven Tranfield 2M Consulting Ltd [NK]

Maria Urban Lisa Veres

Jennifer Waelti-Walters

Kate Wallace Leslie Warnock

Jayne & Steve Weatherbe

AJ West

John & Josephine Wigmore [NK]

Paul Winston Tonya Winton

Ed Wojczynski & Diane McGifford

Maurice Yacowar

Olivia Yanez

Muriel Zemliak

FRIEND

Anonymous x 1

Anonymous x 4 [NK]

Marie Abbott

Darren Ainsley

MaryLee Alexander Barry & Karen Anderson

Stephanie Anderson Claire Astley

William Badour

Susan Batstone

Jackie Bennett Katherine Bergen David Biltek & Margaret Kirwan Carol Bishop

Jacynthe Bouchard

Ann & Ari Bozoian

Penny & Peter Brand [NK]

Linda Chan

Anne Clark Michelle Cooper Kemi Craig

Cam Culham

Erin Dale

Terry Dance-Bennink

Linda & Graham Darby Brian Day

Valerie Deane

Deb Denison Mairi Dunn

Carol Eby Christina Farmilo

Monica Fiederer

Kit Filan [NK]

Brenda Firestone Peggy Firstbrook

Pamela Fowles

Nancy Frederickson

Anne-Marie Gagnon Adrian Gibbons [NK] Margaret Godfrey [NK] Eric Grace

Gordon & Carolyn Greeniaus

Frances Grunberg

Donna Hamar Isabel M. Hansen Mary Harber

Catherine Harding Joel Hawkes Alesha Hayes J T Hefty Bonnie Helm-Northover

Miranda Henderson Viki Hildreth Leslie Hogya Catherine Holt Stacey Horton Carol Hubberstey Sharon Hume

In Memory of Laine Metz [NK] Rita Isaac Elizabeth Ives Allan W Jackson [NK] Kanika Jackson Sylvia Jarvis [NK] Lisa Jozsa

Laura Jurek

Patricia Klassen Bobby Kovar Amelita Kucher

Verna Lang Connie Lebeau [NK]

Heather Lejeune Sheila Linder

Martha MacDonnell

Jennifer & Keith MacLeod [NK] Orleen MacLulich

Veronica Maguire Karen Malcolm Julie Matear

Brenda Mcbain

Christina McCarthy Paula McGahon Sheila McKenzie Barbara McKrow

Barbara Menzies [NK]

Allan & Virginia Miller

Carole Miller & Linda Picciotto

Amanda Mills

Barbara Mitchell Pollock Muriel Modder Michelle Montgomery William Moyer

Jomarie Naysmith Mike Nelson Pedde

Brenda O’Regan

Susanne Palmer

Rachel Penner

Connie Phelan Greg Pierce

Patricia Pitts

Lydden Polley David Poore [NK]

Dominique Poulin

Esther Purves-Smith Jane Roberts Jill Roberts Dale Rolston Brian Rowland

Jackie Saunders-Ritchie Christina Saunders Linda Saunders Micaela Serra Justine Shore Michealle Skwara Gail Squire [NK] Brent St John [NK] Sandra Stott Anita Stuart

Tamar Tabori Tara Taggart Holly Tally Nancy Taylor

Joanne Thomson Elizabeth Trawick Judith Trost Diana Trust

Marie Tuckey

Amanda Vasilakopoulos [NK] Jennifer Verrall Arthur Warren

Lesley Watson

Theresa Wickes [NK]

Sandra & Michael Wiggins [NK] Chris Wilson

Barbara Winters

Caroline Wolmuth Bonnie Yarish

NK = Nutcracker Kids

BBC — Ballet BC UVic Music project

SEASON SPONSOR

BalletX Dance Theatre of Harlem Malpaso Dance Company

VICTORIA • NANAIMO

DANCE VICTORIA SEASON SPONSOR