Dance Victoria Footnotes 42 (Spring 2013)

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ISSUE  • SPRING  • Black Grace + / Season Revealed + more

Black Grace Mixed repertoire March 15 + 16 • Fri + Sat • 7:30 pm Royal Theatre Running time (incl. intermission): approx. 2 hours

Black Grace. Photo © Duncan Cole

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Black Grace Brings a New World to Victoria Black Grace is considered New Zealand’s leading contemporary dance com-

Known primarily for the mid-to-large scale classical and contemporary dance it brings to Victoria each season, Dance Victoria also plays a significant role in the development of the local and national dance milieu.

Dance Victoria Studios is a 12,000 square foot facility in the Quadra/Hillside neighbourhood replete with fully outfitted dance studios and a performance lab, a hub of dance activity for the region. Dance Victoria’s annual Chrystal Dance Prize (16,000 in 2013) is one of the largest awards for dance in Canada. Visit DanceVictoria.com Dance Victoria is governed by a Board of Directors that includes: President

Colleen Gibson

Vice President

Dr. Jennifer Charlesworth

Secretary

Jane Tice

Treasurer

Gail Maier

Directors

Carlos MacDonald Helen McAllister Jean McRae Chris Wilson Rod Windjack

Staff: Producer

Stephen White

Associate Producer

Elise Wren

Production/ Jason Dubois Business Manager

For a video trailer of the three pieces Black Grace is bringing to Victoria visit DanceVictoria.com

Bill Hamar

Dance Victoria Studios: Suite  –  Quadra Street Victoria, BC VT E -- DanceVictoria.com Footnotes is written by Stephen White (unless otherwise noted) and proofed by Anne Moon.

Black Grace. Photo © Duncan Cole

Tours Coordinator

pany and has been touring Europe and North America since 2004. For their performances in Victoria, they are bringing a program of mixed repertoire that includes excerpts of older works Pati Pati and Amata as well as a newer work (2012) entitled Vaka. All these pieces are choreographed by the founding Artistic Director, Neil Ieremia.

First up on the program is Pati Pati (10 minutes), which combines works from the company’s earliest period. It uses body percussion and fast, strong unified movement that is influenced by traditional Samoan Sasa (seated dance) and Fa’ataupati (slap dance).

After a short pause, the next excerpt we will see from Amata (20 minutes, 2007) is actually Act Three of the original. Ieremia has based the compositional structure and floor patterns on a Samoan fine woven mat. The dancers replicate these patterns with a linear movement vocabulary. They weave in and out of lines, leap, jump, bob in unison and in counterpoint. The movement is fast, muscular and athletic. Like Pati Pati, it is propelled by a percussive score that includes chanting.

The final work of the evening, Vaka, which means canoe, is a 60-minute piece inspired by a video installation called The Raft by American video artist Bill Viola. He had been commissioned by the Athens Olympics (2004) to create a new work. Easily sourced on You Tube, The Raft shows a group of about 20 people waiting as if to catch a bus or subway train. Suddenly and without warning two water cannon outside the frame of the video blast water from left and right.

People stumble and fall into each other in slow motion. After a time, when the onslaught diminishes and eventually subsides, the people, who were strangers a few moments ago, help each other to their feet.

In creating Vaka, Ieremia was also influenced by an 1898 painting by Louis J. Steele and Charles F. Goldie entitled The Arrival of the Maoris in New Zealand. Epic and overtly dramatic, the painting depicts a ship crammed with emaciated people, some writhing in agony, on a tempest tossed sea. The watchman at the front of the boat is reaching forward with his whole body pointing to the horizon and the sight of dry land.

“During the creative process,” writes Ieremia, “we realised that we are our own vaka (canoe) carrying our values and belief systems, experiences and memories, good and bad and a hope that we can leave this planet in better shape than when we found it.

“The journey of every vaka faces challenges and danger as it navigates towards an unknown future. We are constantly asked to evolve and adapt in order to survive. How much of ourselves do we allow to change? The question I was struck with when I considered [Bill Viola’s] The Raft was ‘why does it often take a disaster or life-threatening events for humans to demonstrate humanity?” FN

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Welcome to the / Season Dance Victoria Re-Calibrates

Ailey Returns In April 

We’ve done a lot of thinking and planning over the past few seasons to arrive at this point — a new model for Dance Victoria — a model that embraces all we do.

We started with what we do really well: Bringing the world’s best dance to Victoria — large-scale dance with excellent production values, performances that wouldn’t be seen in Victoria unless Dance Victoria brought them here. We feel strongly that this work belongs at the Royal Theatre.

Then there’s all the work we’ve been doing at our studios, supporting the development of new work by local artists, resident companies and visiting choreographers. Since introducing our Chrystal Dance Prize in 2010, we’re bringing more international dance artists to Victoria. With the support of YAM Magazine over the past four seasons, we’ve been building our mid-winter Dance Days festival so that in 2013/14 it becomes the platform where we can share this work with you.

Look for next year’s Dance Days to be packed with more performances, showings, talks and demonstrations while maintaining its mandate to promote free dance classes in all kinds of styles, all over town.

Dance is a dynamic and ever-changing form, influenced by what has gone before, but also by what is happening today. We’re excited to be at the forefront of dance in our community and in the country.

Next year we are bringing the best of the best. I hope you’ll join us.

When Dance Victoria presented Alvin Ailey American Dance Theater in 2011, the company was in transition. Artistic Director Judith Jamison was retiring and the new Artistic Director, Robert Battle was standing in the wings after having been personally selected by Jamison. Now 40 years old, Battle has completed his first seasons at the Ailey organization. During that time he has introduced new repertoire, new dancers and revived older works. New York Times dance critic Alastair Macaulay characterized these shifts as subtle and applauded Battle for not messing too dramatically with a company that has been a phenomenal international success.

In his critical overview of Battle’s first year as Artistic Director, Macaulay said, “The company played down its tendency to overdeliver with Broadway-style facial expressions that in the latter seasons of Judith Jamison’s artistic directorate characterized much of its performing.” He also wrote that Ailey continues to have “a wide assortment of attractive and exciting dancers…the level of skill and drill within the company remain exceptional.”

We’re excited to welcome the company back to the Royal Theatre in 2014 and interested to see if we agree with Mr. Macaulay in our own assessment of where the company is going.

 STEPHEN WHITE, PRODUCER

If you have any questions about next season, please contact me directly at 250-595-1829 or producer@dancevictoria.com

What the Changes Mean Dance Victoria’s new four-show season means that there is no longer an option to “Design Your Own Series.” It also means that all subscribers will now have the opportunity to retain or upgrade their seats in Spring 2014 when we renew for the 2014/15 season.

In /, all four presentations are at the Royal Theatre and are timed so that there are a few weeks or more between each performance. (Sorry about the heavy programming in February  — you live and learn!) In spite of the season’s being smaller, we think we’re offering more — bigger and better companies with exciting new programs. For the contemporary dance aficionado, Yam Magazine’s Dance Days Festival in January/February  will be packed with intriguing new works and studio showings. (Full program TBA Fall ).

Jump The Queue Is New Even Jump The Queue! is new in 2013. This year after each performance of Black Grace on March 15 and 16 at the Royal Theatre, we’re throwing a party and keeping the Box Office open so you can renew your subscription before you go home that night. Linger after the show and join us for a complimentary glass of champagne. Get the inside scoop on the new season then visit the box office and pick your seats before they go on sale to the general public on Monday, March 18.

Subscription On Sale Dates • Ensemble Subscribers renewal period: Monday, February  through Saturday, March . If you do not renew by March  your seats will be released.

• Ensemble subscribers are those individuals who purchased tickets to all of Dance Victoria’s presentations in its / season.

• Design-Your-Own-Series Subscribers: Monday, March  • Other subscribers are those who selected three or more shows in /.

Subscribers See  Shows for the Price of ! 

“The choreography…shimmers in beauty.”

– GLOBE & MAIL

“The company’s performance and presence is spectacular…young, beautiful, athletic and soulful.”

– NATIONAL POST

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“…aesthetically perfect.”

– RIBUNE DE GENÈVE

“This Swiss company has a rich, century-long history [and] exceptionally supple ballet-trained dancers.”

– NEW YORK TIMES

+

“A mezmerising reconfiguration of one of the world’s oldest tales…” – T H E R O G O V O Y R E P O R T

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ALBERTA BALLET

November  + ,  • : pm Royal Theatre Fumbling Towards Ecstasy Featuring the music of Sarah McLachlan Choreography by Jean Grand-Maître

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Inspired by and featuring the atmospheric folkpop music of award-winning singer/songwriter Sarah McLachlan, Fumbling Towards Ecstasy is a rare ballet that brings to life the personal poetry of an icon. Choreographed by Jean Grand-Maître and danced by the full company of 30 exquisite dancers, this piece explores the ever-changing lives of women — their struggles, their relationships and their triumphs.

“Walking Mad is one of those rare unforgettable dance pieces that make you sorry the party’s over.”

– GEORGIA STRAIGHT

“There is much to celebrate here: the resurrection of a company that did it not by pandering but by pushing the envelope.”

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BALLET DE LE GRAND THÉÂTRE DE GENÈVE

March  + ,  • : pm Royal Theatre

Roméo et Juliette Choreographed by Joëlle Bouvier Music composed by Sergei Prokofiev

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“Triumphant from start to finish!” – T I M E S C O L O N I S T “[S]parkles like a Fabergé egg.” – V A N C O U V E R S U N ADULT

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This world-renowned company of 22 classicallytrained dancers is rarely seen outside Europe. In this 2009 version of the Shakespeare’s classic tale of love and loss, choreographer Joëlle Bouvier has abstracted the Prokofiev score and concentrated the story’s essential turning points, allowing the medium of dance to speak directly to the audience’s hearts and emotions.

Simply beautiful.

/ Season

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ALBERTA BALLET

December  +,  • : pm December  + ,  • : pm Royal Theatre The Nutcracker Choreographed by Edmund Stripe Music by Pytor Tchaikovsky

Alberta Ballet’s version of this classic family favourite is a sumptuous feast for the eyes.

Designed by Emmy Award-winner Zack Brown, the production is packed with surprises to delight young and old. To borrow from the 18th century scholar, Dr. Samuel Johnson — when one is tired of Nutcracker, one is tired of life itself. Make this the year to bring your loved ones to the Royal Theatre for a magical experience they’ll remember for a lifetime.

“Alvin Ailey American Dance Theater is a must-see!”

– WALL STREET JOURNAL

"The Ailey dancers are marvelous."

– NEW YORK TIMES

– GLOBE & MAIL

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BALLET BRITISH COLUMBIA

January  + ,  • : pm Royal Theatre Walking Mad and other works Walking Mad is danced to Boléro by Maurice Ravel, with additional music by Arvo Pärt Choreographed by Johan Inger Plus two new works choreographed by Jorma Elo and Emily Molnar

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Artistic Director Emily Molnar, formerly of the National Ballet of Canada, the Frankfurt Ballet and a principal dancer with Ballet BC has revitalized this company of 18 dynamic, intelligent and passionate dancers. Her vision of contemporary ballet rooted in classicism has electrified audiences in Vancouver and on tour to the National Arts Centre and other venues.

Named one of Dance Magazine’s  to Watch in 2013, Dance Victoria is very excited to celebrate the return of this feisty company to the Royal Theatre after an eight-year absence. The program includes two new works by Finnishborn choreographer Jorma Elo and Artistic Director Molnar.

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ALVIN AILEY® AMERICAN DANCE THEATER

April  + ,  • : pm Royal Theatre Mixed Repertoire

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Dance Victoria is thrilled to bring Alvin Ailey® American Dance Theater back to the Royal after sold-out performances here in 2011. Hailed as America’s cultural ambassadors to the world, Ailey’s dancers are truly one-of-a-kind exceptional. The program will include contemporary favourites and spirit-lifting classics such as Alvin Ailey’s masterpiece Revelations. See for yourself why this company is considered the most popular modern dance company in the world. Only Dance Victoria subscribers can buy Ailey before December 1, 2013!

PHOTO CREDITS Alberta Ballet – Company dancers in Fumbling Towards Ecstasy; photo by Donald Lee. Ballet British Columbia – Alexis Fletcher, Gilbert Small and Darren Devaney in Walking Mad; photo by Michael Slobodian. Ballet du Grand Théâtre de Genève – Roméo et Juliette; photo by Gregory Batardon. Alvin Ailey® American Dance Theater – Alicia Graf Mack; photo by Andrew Eccles. Alberta Ballet – Company dancers in The Nutcracker; photo by Darren Makoivichuk. Dance Days 2013 – participants at Lynda Raino Dance; photos by Simon DesRochers for YAM Magazine.

DANCE DAYS FESTIVAL

January + February  Venues all over town

In its fifth year, Dance Days grows up and becomes a real festival!

We’ve selected the best and freshest new dance works, packed with originality and humour. We’re putting them together with studio-showings of works-in-development, a dance cabaret, discussions and demonstrations in addition to Dance Days trademark free dance classes in all kinds of styles at studios all over town. We are very grateful for the community spirit that Dance Days has fostered. In 2013, 23 local studios opened their doors to hundreds of new participants.

WHO IS DANCE VICTORIA? Now in its 17th season, Dance Victoria is the non-profit charitable society that brings the world’s best dance to Victoria’s Royal Theatre. It also manages Dance Victoria Studios where a dozen different dance studios offer classes in a wide range of genres throughout the year. From its studios Dance Victoria supports the development of new dance works by local, national and international dance artists. For more information visit DanceVictoria.com.

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Dance Seen Dreams (and Nightmares)

By Stephen White At Dance Victoria we have been busy imagining a bold new future for our organization. We call it Vision . OK, the title is a bit cute, but it’s called  because we are thinking about where we want to be in seven years.

We, the staff and Board of Directors, are not doing this alone. With assistance from two grants we were able to hire a crackerjack team who specialize in these kinds of exercises.

It’s all pretty exciting actually. Thus far, after a planning session in January, we have all agreed to what is called “the big hairy audacious goal,” which is a bit scary if you think about it too long. Some days it all seems like our goal is the next logical place to be and then some nights, when I’ve set aside my bedtime reading and turned out the lights, I flip onto my left side, and then my right and back to my left as the implications of that vision wash over me. My nocturnal habits are pretty predictable by now: : a.m. and I find myself wondering, do I have latent under-developed talents to make this plan work? Do those talents just need to be massaged and coaxed and tweaked? Then I try to turn the motor off by visualizing Julie Andrews and I start thinking about all of my favourite things. I don’t want to write about it too much because it’s working for me right now. You know how that is. Over-analyze something and poof it doesn’t work anymore. But for now whiskers on kittens and brown paper packages have been bringing on the sleep.

Truth be told, what scares me more than the future is the present.

The world that Dance Victoria (and all the city’s non-profit arts organizations) inhabits at present is so unpredictable, like shifting sands. It has been getting more challenging for the last few years, but

Stephen White photo © Benjamin Moore.

France Dance In April, Dance Victoria’s 2012 Chrystal Prize winner Daelik (he’s like Cher: He only uses one name) will be in residence at Dance Victoria Studios while he works with French (as in from France) choreographer Fabrice Ramalingom. Daelik is developing a new solo work that he hopes to premiere this fall. We are of course honoured and excited to have Fabrice here for two weeks. Fabrice is an associate artist of Montpellier Danse, which produces one of the premiere dance festivals in Europe. He has premiered many new works for groups and solos at this event over several years.

He has also worked with Daelik and dancer Delia Brett previously on a piece entitled Vancouver vs. Vancouver (2008) which was performed at the Dance Centre in Vancouver. Their new work is a bit of a mystery. Daelik and Fabrice have been corresponding, building on each other’s ideas, but what they come up with in the studio is likely to surprise them as much as all of us.

I have to say right now it’s shakier than ever. Shows I assumed (given our track record and experience) would sell like hot cakes instead sit like flat-cakes in the box office. How is this happening? We put out  chairs in our studios for Rough Cuts in January and  people show up. Clearly my meter needs adjusting.

We continue to refine and readjust, think and re-think, plan and un-plan but what really propels us forward is this “big hairy audacious goal.”

The other morning, just before the alarm went off, I had a beautiful dream. I found myself in a gorgeous old theatre with a huge stage big enough for the Bolshoi. It was ours. We were given it. I walked into a backstage room and set up right there in front of me were seating risers.

I said “Look, Jason — we can put those seating risers in our studios and no one will ever be concerned about sight-lines ever again.” Jason was as excited as I was. There was a lot of work to do in this old theatre, but it was ours. When I awoke I was OK. The terrors didn’t descend. Instead I basked in the warm feeling the dream evoked for most of the morning.

Despite all my skittishness I have to say it is a true privilege to do work that I love and for that work to be appreciated and supported by so many people. The future is exciting. We’ll get there. Along the way I’ll channel people I admire like Barack Obama, the whole of the Ailey organization in New York, and yes, Julie Andrews.

Thanks for another great season. FN

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 Footnotes • Issue  • Spring 

Dance Victoria Archives In a previous newsletter, we told you about Dance Victoria’s new Archives. It was established when we received boxes of materials that contained photos, house programs, posters and newspaper clippings from the 1940s forward. These materials were collected by beloved local dance teacher Wynne Shaw, who had a huge influence on generations of dancers in Victoria, and who passed them on to Vivian Love before she died in 1985.

Since September, a group of people has been meeting at our studios, going through all the materials, cataloguing them and re-housing them properly in acid-free folders and envelopes (we’re very sophisticated)! Tea is served promptly at 2:30 pm on the committee days, but the conversations that begin as the committee

Donor Thank You As you know we are in the midst of our annual donor campaign.

Individual donations are the spine of our operations, enabling us to continue bringing worldclass dance companies and dance artists to Victoria. We’d like to thank some recent donors to Dance Victoria: ANGELS The Estate of Betty “Chrystal” Kleiman (Chrystal Dance Prize) The Estate of Hugh Macpherson (The Hugh Macpherson Workshop Series) PRESIDENT’S CIRCLE Jean Bain Tony Cheong D’Ambrosio Architecture and Urbanism Bill Hamar and Stephen White Lorna Harris Dr. Harlow and Jane Hollis Mrs. Robert G. Lawrence Sandra Lee Vivian and Monty Love Robert Milne Betty Molnar and Bob Wallace

Pacific GeoTech Systems Ltd. John and Sue Pallett Sheila Reid Heather Sheehan PATRON Paul and Sharon Bundon Paula Carey and Nicholas Wemyss Cindy Lundy and Dr. Wayne Ghesquiere Patricia Gudgeon Donna Li Lois McNabb Roy Nikaido Jane Tice Caroline Wolmuth Fred and Ann Wurlitzer SUPPORTER Valerie Cochran Joan Davis Norah and Shiv Garyali J. Lawrence Headley Larry Jones and Esmee Rothschild Kathy Lang – Elev8 Youth Dance Project Helen McAllister Kaye Melliship Robin J. Miller

studies a photograph and recalls a dancer or a specific recital is fluid.

The committee is animated and we feel fortunate that Dance Victoria is harnessing these memories to augment the collection.

The really big news is that one of these committee members, Vivian Love, and her husband Monty, have stepped forward and offered a major gift to help us renovate a storage room at Dance Victoria Studios to house the archives properly. We estimate the total cost of the project to be about $10,000. With the renovated space we will be able to display materials and have a spot for researchers interested in dance on southern Vancouver Island to work from a desk. If you’d like more information about our archives, please call me: personally.

Stephen White, 250-595-1829. FN

Pacific Dance Centre Alix and Mark Sutton Betty Wilkinson FRIEND Antler Ridge Dance Douglas Baer Christine and Michael Bloomfield P. M. Bond Anne Bowen Samantha Dickie Jean Field Eleanor Gjelsten Cheekwan Ho The Indoor Jungle Mary Kimpton Amanda King Betty MacNaughton Warren Magnuson and Sharon Walls

Arabella Martin Rod and Marilyn McCrimmon Jack and Lori Meredith MoonDance Arts Michael Morres Susan Newlove Mandy Niddrie William Shearer Dale and Margaret Shortliffe Judith Stevenson Veronica Stinson Donald Walker Kai Whalley Alice Whitehead Whitespace Dance Dirk van Wijk Peter and Lisa Wren  ANONYMOUS DONORS Current to Feb. 25, 2013

Silver City Update The Silver City transmission of ballet from the Bolshoi hit a hiccup when the Bolshoi artistic director had acid thrown in his face in January. The Rite of Spring planned for March 31 is put on hold and the cinema at Tillicum Mall will present the Bolshoi’s La Esmeralda in its place — a three act re-telling of the story of the Hunchback of Notre Dame.