just dance! | Fall 2015 | Vol. 4 | Issue V

Dancers share their favourite dance routines of the 2015 competition season p.21

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zack preece is in the spotlight

Inside u Soleil Cirque d ter" with "tricks o Joey Arrig Page 14

Meet the choreographers behind Team Canada Hip Hop

from dancer to designer Suzanne sits down with

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INThISISSUE

Features: Victoria academy of ballet: On the Move in Every Way!............ 11

by Harry Brown Under the Big Top with Dancer Joey Arrigo................................. 14

by Jacqueline Steuart The Team behind Team Canada Hip Hop (West)............................... 26

by Heidi Turner Meet the pro: Jorden Morris................................................................... 30

by Jacqueline Steuart

Knowledge Base: Face: why dancers have to have it................................................. 23

by Heidi Turner Balance: Communicating with your Dance Teacher........................ 37

by Monika Volkmar

in every issue: Publisher's Letter...................................................................................... 6 In the spotlight: Zack Preece................................................................ 7

by Racquel Foran Suzanne Sits down with Ainslie cyopik.......................................... 18

by Suzanne Ouellette just dance! Wants to Know...What was a Stand-out Performance for you During the 2015 Season?................................... 21 History of Dance: Wheelchair DanceSport...................................... 34

by Racquel Foran just dance! Directory............................................................................ 38

Cover: Zack Preece shows his excitement about joining his new dance school on Granville Island, BC, Arts Umbrella. Credit: Racquel Foran

Y P.23 FAVOURITE DANCE MEMOR DANCERS SHARE THEIR

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FromThePublisher

B

elieve it or not, publishing a magazine has a lot of similarities to dance: it is a creative endeavour; the best laid plans can change unexpectedly; and risk taking is built into the process. So, as is the case with dancers, there are, as a publisher, ups and downs along the way. Since first conceptualizing and launching just dance! there have fortunately been many more ups than downs. In general, the dance community has received us well and this has sustained me as a publisher.

So three years in, I decided to take our biggest risk to date and host Greater Vancouver’s first ever danceXpo. The vision for the event was much like that of just dance! – to inform, inspire, and celebrate young performing artists. We wanted to produce an event where young dancers and dance families could interact with and get to know industry insiders. And we wanted those who work in the industry to expand their network and get to know more people in their field.

By the time we were ready to open our doors on June 13 we were thrilled to have more than 30 exhibitors, and a dozen studios performing.

We were also happy that those who attended had a great time and found value in the event. We know that many great connections were made: one of our main stage instructors was presented with a job opportunity; several dancers who performed on our main stage were offered scholarships to The Hollywood Summer Tour; two main stage dancers were offered spots to compete at Dance World Cup in Whistler this past July; and several dancers went home with scholarships to GO Brinson’s Acting For Dancers Workshop; another dancer won a $500 Gift Certificate for the Victoria Academy of Ballet. And the business to business networking was phenomenal with several new relationships and opportunities growing from the experience. A heartfelt thanks to all our exhibitors for supporting us in our first year!

Despite all the wonderful things that came from the event, I admit that I crashed badly afterwards. Attendance was not nearly what we had hoped, and many people in the industry that we have supported did not help spread the word, or even attend. It made me question everything I was doing. And I still am to some degree.

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danceXpo was supposed to be an extension of just dance!, and both are meant to serve and celebrate dance in Canada. I believe very strongly that if dance industry insiders engage children and their families and help diminish some of the perceived snobbery around dance that ultimately everyone will win. But the challenge to get people on board has left me wondering if the industry wants to open up.

All of the above made this issue of just dance! one of the most difficult I have had to produce. It was difficult to stay motivated when I wasn’t sure if anyone really wanted what I was producing. It has been difficult to have so many very successful dance schools, companies, and service providers reach out to us seeking free publicity all the while continuing to refuse to advertise with us or support the magazine in any way. But my vision was about the kids, and promoting and supporting the arts. The young kids dancing today are the stars (and audiences) of tomorrow. They need to be celebrated, supported, and encouraged.

And they need a Canadian publication so the information they are receiving is relevant to them. I am committed to providing this for as long as I am able.

I am grateful for the wonderful contributing writers I have. In this issue they are all serving up something special. For Jacqueline Steuart it was all about the men in this issue. First she introduces us to Joey Arrigo and his thrilling role as the Trickster with Cirque du Soleil’s Kooza, then in our Meet the Pro feature she shares the journey of Alberta-born Jorden Morris, Citie Ballet’s new AD. Heidi Turner introduces us to the team that is working hard to help Western Canada’s Team Canada Hip Hop achieve gold in Italy this Winter. Suzanne Ouellette sits down with retired principal dancer and bodysuit designer Ainslie Cyopik. And to make sure you get your dance season off to a good start, Monika Volkmar shares some tips on how to practice good communication with your teacher.

I hope you enjoy this issue. And please contact me anytime to share ideas or information, or simply to give me your feedback.

Keep dancing!

6 just dance! | Fall 2015

— Racquel

{ in th e spotlight }

Zack

Preece is In the spotlight b y

I

t often surprises me how very shy so many young dancers are. They take to the stage and performing like ducks to water. They may feel nervous, but it rarely shows. It is the confidence of these kids that amazes me over and over again.

But when you meet them, their personalities often don’t meet the expectations set by their performance.

This is certainly the case with our Spotlight dancer, Zack Preece. On stage his personality comes across as larger than life, but in person he seemed uncomfortable having the spotlight on him. But In the Spotlight he is, and here’s why.

I knew Zack’s name long before just dance! existed.

I have been watching him perform at competitions since my daughter first started competing five years ago. Zack was only ten years old the first time I saw him dance, but he already stood out. Boys sometimes have an advantage in this way; it is hard to miss what

R ac q uel

F oran

is often the only boy amongst a gaggle of girls. But, as with all budding stars, it was his talent that made you watch him, not his gender. His first teacher and mentor, Pam Young agrees, “he has great charisma and is such a joy to watch in all genres.”

Perhaps what stood out most then, and still now, is that he clearly loves what he does. He is one of those dancers who makes dancing seem effortless. “When I dance it’s like I forget everything that is going on in my life and just move and it’s a great feeling,” Zack said.

“I think what sets Zack apart is his passion. When he steps on stage he oozes with passion,” says Pam Young.

Zack started dancing because his older brother danced and Zack wanted to be exactly like him.

He took his first class, jazz dance, at Walnut Grove School of Dance. It didn’t take long before one class Fall 2015 | just dance! 7

{ in th e spotlight }

Zack in an early hip hop photo.

Zack at work in the studio with Caroline Kiddie.

a week increased to up to 20 hours or more a week of training at Studio One Dance Center in Aldergrove, BC under the guidance of Ms. Pam. Like most dancers, he trains in a variety of genres including jazz, contemporary, ballet, tap, hip hop, and ballet. But contemporary is his favourite genre “mostly because that’s what I feel is my strongest,” but his favourite performance to date was probably a jazz solo. He danced to Love Man by Otis Redding. “I had chest hair and had to rip off my shirt at the end.

So fun!” His reason proving that he really is a true performer.

When asked what challenges he has faced as a male dancer, he says that he hasn’t had to face too many. “Personally I have never been teased that much because I have great friends who stick up for me, but my friends tease me sometimes. “But,” he added with a laugh, “that’s what friends do.” Occasionally he, like many other male dancers, feels like people forget that boys dance too.

Explaining, for example, that sometimes for RAD exams it is difficult to find male books, so it can be hard to learn the exercises. This certainly hasn’t held him back though.

In 2012 he travelled to Mikolajki, Poland with Team Canada Dance to compete in the IDO World Dance Championships where he won gold for his jazz, silver in contemporary, and gold in his lyrical duo all in the 12-15 year age category.

In 2014, he won the BC Provincial title in the intermediate stage category and this year he was BC Provincial representative

8 just dance! | Fall 2015

in intermediate modern and he received honourable mention. “I think my greatest achievement is winning provincials… I was so proud of myself because I was not expecting it at all,” Zack said.

After almost 10 years at Studio One, Zack is making a big change this year in an effort, “to experience something new with more intense training.” So this fall he is joining the Arts Umbrella Professional Dance Program. He is looking forward to getting really good technical training, but admits to being nervous about the change at AU. “I’m excited because it’s going to be amazing, but it’s such a difference from what I’m used to doing so I am going to have to adapt,” he explained.

The AU program requires students to either be home-schooled or enrolled in a halfday program at their school, as students train five mornings or afternoons a week, up to 20 hours weekly. Having had their older son Jake commute from Cloverdale to Goh Ballet Academy in Vancouver for three years, Zack's parents decided this time around it would be easier to move to the city. This means not only a new dance studio for Zack, but a new high school, too.

This isn’t the only sacrifice the family has made in pursuit of the two young men’s dance ambitions. They have given up family holidays for the past few years; dad has taken up refereeing soccer and umping baseball to help pay for private classes; and mom has worked extra shifts at work to help pay dance bills. “But of course it’s worth it,” says mom Angela. “I can’t explain the joy… I cry a lot when I watch them dance. Even their dad has been known to tear up.”

Other big changes that will come with AU is a focus on ballet technique and, contemporary training, and there will be no more competitions. Zack says he will miss competing, but recognizes that

Top right: Erik Zennstrom Photography

Zack in an early ballet photo.

{ in th e spotlight } when attending auditions a dancer's competition history is not considered.

He is, however, excited for the AU performance opportunities.

Older brother Jake has been training at the Pacific Northwest Ballet since the summer of 2014. When asked how Zack and his brother compare as dancers, Angela described Jake as more classical and refined, whereas Zack is more hard hitting and is “unique in his movements.”

This would probably explain why Zack does not plan to try and follow his brother to PNB, but rather earn an arts degree and then try a little bit of everything, “I want to work in a contemporary dance company, or I want to go commercial and move to LA and audition for music videos and tours. I even want to try both concert and commercial dancing,” he said.

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"Arts Umbrella is very lucky to have such a dedicated, hardworking, passionate student like Zack."

Pam Young certainly thinks he can achieve any of these things, “I see lots of different things in Zack’s future. I don’t think he could just settle for one style. I think he could be a great commercial dancer, but also his love for contemporary could lead him into a company. Whatever he decides to do, I’m sure he will excel.”

It does appear as though Zack is on the road to success, but those who have taught and danced with him at Studio One are sure to miss him. “I have mixed emotions about Zack going to Arts Umbrella,” says Pam. “Although I’m so happy for him, I’m also sad that I’m not going to be teaching this talented young man anymore. I think he will grow from his experience at AU and it will make him a stronger dancer, but his presence in class will be missed. He has a way of making the class laugh - usually at himself or something he has done. He knows how to have a good time in class, but also when it’s time to work! Arts Umbrella is very lucky to have such a dedicated, hardworking, passionate student like Zack.

Fall 2015 | just dance! 9

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10 just dance! | Fall 2015

Although the Bridge Program is a

Victoria Academy of Ballet On the Move in Every Way!

By Harry Brown

I

t has been an eventful year for Victoria Academy of Ballet, who have been quickly establishing a reputation as one of the premier dance schools in the country.

In September 2014, the Academy moved to its new location in the centre of downtown Victoria on Johnson St. The new studio offers modern and spacious facilities for a variety of dance programs and is easily accessed from all areas of Greater Victoria.

More recently, VAB’s Bridge Program was granted full accreditation status by PCTIA, Ministry of Advanced Education of British Columbia. This status assures prospective students and parents that the school meets the rigorous standards set out by the Ministry. The first and only ballet training institution in the province to achieve this designation, VAB has been commended for providing excellence in instruction, a wide ranging curriculum and a quality educational experience.

This accreditation also recognizes the Academy staff, each of whom possesses the highest credentials as dance instructors, in addition to having had successful professional dance careers. As well as the PCTIA designation, VAB has also been recognized by the Government of Canada as a registered Vocational Institution.

‘signature’ dance program of VAB, it is by no means the only one. The Professional Program offers students aged 12-18 intensive dance instruction for half days For Bleiddyn Del Villar Bellis, Owner/ Director of VAB, the PCTIA Accreditation is welcome news and the culmination of five years of hard work, dedication, and determination. She gives much of the credit to her instructor colleagues, Andrew Pronger and KerryLynn Turner, whose passion for dance and concern for students, as well as their pursuit of excellence have played a large part in this recognition. This dynamic team has served VAB and its students well and has contributed to the successes for which it is becoming known.

while they attend regular school for half days. VAB staff ensures close cooperation between local schools and the dance school by providing on-going support to its Professional Program students.

Offering instruction in Cecchetti, jazz, and contemporary dance, it also allows students the opportunity to take Cecchetti exams, perform at a variety of venues, and participate in dance competitions. In addition to the school year, this program is also offered in the summer to local students as well as to students from other parts of Canada or abroad.

Other programs VAB offers include children’s recreational dancing, both yearlong and in the summer, as well as junior and senior recreational dance programs

The Bridge Program, directed by KerryLynn Turner, is a unique two year diploma program whose aim is to train post-secondary level students for careers in some aspect of dance. Besides formal dance training (35-40 hours per week) with a focus in classical ballet, students also take classes in contemporary, jazz, and Pilates, as well as learn about ballet history, health and wellness issues, anatomy, choreography, and personal and professional development.

for students aged three-18. Each of these

One of the outstanding features of the program is that students are provided with a great deal of personal attention and counselling to ensure they recognize their talents and that they set goals that are within their reach. Students are encouraged to communicate with their instructors regularly to discuss progress and to receive professional advice such as where to audition and how to search out career possibilities.

Performing Arts Festival, and Victoria

Students from Canada, Australia, Britain, Mexico, and Japan ensure diversity and give the Bridge Program a dynamic ambience.

Graduates have had great success in finding opportunities in the dance world both in Canada and abroad after they complete their Diploma.

programs is taught by Bleiddyn Del Villar Bellis, KerryLynn Turner, or Andrew Pronger.

VAB students have distinguished themselves in all sorts of competitions locally and internationally. Besides winning a number of awards in the annually held Cecchetti Dance Competitions, VAB students excelled this past spring at the Greater Victoria Performing Arts Festival, the Upper Island Danceworks, where they took home 17 awards. Most recently, all seven VAB students selected to represent Victoria won awards at the BC Performing Arts Festival provincial competition, including runner-up in Senior Ballet, and 1st place in Senior Modern Dance.

No doubt about it, Victoria Academy of Ballet is a dance school on the move. It has become a leader in dance education through its dedication to excellence.

Its specialized programs offer aspiring professionals, as well as those interested in pursuing a love of dance, the chance to flourish in an atmosphere that is geared to the individual student.

For more information about VAB, visit the website: VictoriaAcademyofBallet.ca or email: admin@VictoriaAcademyofBallet.ca, director@VictoriaAcademyofBallet.ca Fall 2015 | just dance! 11

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Photo credit Rene Tanner, Costumes Marie-Chantale Vaillancourt Cirque du Soleil.

Joey Arrigo as the Trickster.

Under the Big Top with Dancer Joey Arrigo

By Jacqueline Steuart Dancer Joey Arrigo, from Newmarket, Ontario, has spent the past year travelling the world playing the lead role of the Trickster in Cirque du Soleil’s KOOZA. It’s the 23-year-old’s first-ever show with the Montrealbased company and he says the experience has been a dream come true.

“When I found out I got the role in KOOZA, I started to cry,” recalls Joey who says he was standing in a lineup at the bank when he received the good news. “Everybody thought I was this crazy person for crying in a bank,” he laughs, “But when I told them what had just happened, it turned into a bit of a ‘Broadway Musicalmoment’ for me because everyone was really happy.”

Cirque du Soleil has been wowing audiences with their imaginative stories, dazzling performers, elaborate costumes, and gravity-defying stunts since 1984. All the performers in a Cirque du Soleil show are experts in their fields whether they are swinging overhead on a trapeze or hoop, dangling from an aerial silk, flipping sky high on a trampoline, or in Joey’s case, launching ten feet into the air from a hydraulic platform like a human jack-in-thebox in the opening act of KOOZA.

Photos x3 courtesy of Joey Arrigo.

“Jack-in-the-Box makes me nervous every day because the launch is out of my control,” says Joey, who trained hard to keep his core “super-engaged” while flying, and he says, “Once that’s out of the way, I know it’s going to be a great show.”

Joey first auditioned for Cirque du Soleil by attending an open call for dancers in Toronto when he was 18 years old. “They put me on file at that point,” he says and they did contact him in later years for the Trickster role, but his schedule didn’t allow it.

When the opportunity came around again in 2014, Joey says, “I did whatever I had to do to become available, and this time it all worked out.”

Although, Joey came to Cirque du Soleil an accomplished contemporary and jazz dancer and a highly skilled acrobat—he’d won numerous Dance Masters of America titles, had worked as Joey Arrigo a choreographer’s assistant to Mia Michaels on So You Think You Can Dance Canada, and was also one of Canada’s Top 20 dancers on the same show in 2011—he still had to undergo physical testing before he could begin to learn his new role.

In Montreal, Joey’s trainers wanted to see how high he could jump, what his strength levels were, and if he had any muscle or joint weaknesses that could affect his performance.

The reason for this was to make sure that he, like all Cirque performers, could withstand a rigorous touring schedule that includes worldwide travel and eight to ten shows per week.

After passing the physical testing with no concerns, Joey says he spent a few weeks in Montreal learning his new role, and he confesses to overcoming a few minor challenges.

“I really hated gym class in school because I had no hand-eye coordination.

I couldn’t catch a cold let alone a ball!” And he says some of the most challenging aspects of his performance have been what the audience would likely think should be the easiest. “I am not a world-champion baton twirler,” Joey

Photos Matt Beard_Costumes Marie-Chantale Vaillancourt ©2012 Cirque du Soleil

KOOZA Contorsion.

KOOZA Charivari.

About KOOZA

KOOZA combines the art of clowning with high-stakes acrobatics in a story about the Innocent, a young loner struggling to find his place in the world, who stumbles across an array of interesting characters including the Trickster.

KOOZA is derived from koza, a Sanskrit word, meaning box or treasure.

The show premiered in Montreal in April 2007 and has since been watched by more than 4 million people in 47 cities, in 12 countries, across three continents.

KOOZA employs 50 performers including clowns, dancers, musicians, acrobats, contortionists, high-wire acts, and more.

The cast and crew of KOOZA represent 18 nationalities from Australia, Brazil, Canada, China, Colombia, France, Hungary, Ireland, Italy, Kazakhstan, Moldova, Mongolia, Russia, Spain, Sweden, Ukraine, United States, and United Kingdom.

Every CDS performer does their own intricate makeup and each character has their own step-by-step manual so the makeup is applied perfectly every time.

KOOZA, Cirque du Soleil Concord Pacific Place, Vancouver, BC Performances From October 29 to December 13, 2015 Fall 2015 | just dance! 15

Photo credit Rene Tanner, Costumes Marie-Chantale Vaillancourt Cirque du Soleil.

Joey Arrigo as the Trickster in KOOZA.

says, describing two moments in the show that still make him a bit nervous. One is where he has to “pop a wand into the air and catch it with one hand while making it look really cool,” and the other is when his character has to toss some hoops to the hula hoop artist on stage. “You might think that’s no big deal; it’s just a hoop.

But it’s so stressful when it’s someone else’s act you could mess up.” As for the wand, Joey jokes, “I’ve had to practice that a lot,” and he admits to dropping it on stage once in a while, but recovers by “adding a knee slide out of it so it still looks really, really cool.”

Joey’s spirited and humorous personality seems perfectly suited to a character called the Trickster—which by its very name implies a cunning and mischievous fellow. “He’s a strong character, full of life and energy, who tumbles, flips and kick- jumps constantly throughout the show,” but Joey says it’s the Trickster’s ability to command attention through his stillness that makes the character a force on stage. “I think that’s what is so great 16 just dance! | Fall 2015

about this role, the fact that he is also so grounded.” Joey attributes his years of jazz training and studying the performances of those who performed the role before him to his being able to capture the playful essence of the Trickster.

“I came to KOOZA as a dancer and an acrobat knowing that these were my strengths, but I’ve also learned to become a better actor through working with the other characters.” Joey says that receptiveness to working with others and new ideas are what make for a long career with Cirque du Soleil. “Staying open to learning and trying new things is what makes you a valuable employee to this company.”

Even after a year of travelling throughout Europe and North America, Joey says the show never gets old. “Things are constantly changing,” he says. “There are casting changes or spacing changes, and we’ve even had new artistic directors who change things, and that always keeps things fresh.”

2016 TOuR DATES

So what’s next for Joey once KOOZA ends? “I can’t even think about that,” he groans. “I’ve been extremely lucky, and I don’t think I’ll ever find a role that fits me so perfectly.” But he says, when the time comes and he has to move on from this role that in no way means he’d ever

want to leave Cirque du Soleil. “I love the way this company treats its professionals, and the amount of creativity we get to put into our jobs and our lives here is incomparable. When I’m old and crippled and can’t work anymore, that’s when I’ll leave.”

Casting Notes from Cirque du Soleil Casting Associate: Amy Brogan As a casting associate, Amy Brogan’s job is to match CDS shows with the perfect artists based on the performer’s technical abilities, artistry, and personality.

“Normally we hold two to three general auditions per year depending on our needs,” says Amy, and she notes these auditions have been held at various locations around the world. Following a general audition, the dancer’s profile, if selected, might be added to CDS’s database of potential artists and presented to an Artistic Team of a specific show when a job becomes available.

Currently, the eight CDS shows playing that have dancers cast in various roles are KOOZA, La Nouba, The Beatles Love, Michael Jackson One, Mystère, Quidam, Varekai, and Zumanity.

For a dancer wanting to be selected for a CDS show, Amy says, “Strong technique, stage presence, versatility, and being open to try new things are key.” She adds that it’s ideal for a dancer to have experience in multiple dance styles but says, “It’s the willingness to try that matters

more sometimes than having a second or third style.” Amy also stresses that dancers need to know how to take care of their bodies, stay healthy, and avoid injuries especially given the demands of a touring show.

CATCH A RISING STAR I March 17-20 | Camrose, AB (formerly Stettler) (This event is invitational only)

GALAXY DANCE FESTIVAL April 1-3 | Brooks, AB (This event is invitational only)

CATCH A RISING STAR II April 8-10 | Drumheller, AB

NOVA DANCE CHALLENGE I April 29-May 1 | Olds, AB

When asked why Joey Arrigo made the perfect choice for the role of Trickster in KOOZA, Amy says when they were casting the part they were looking for a dancer with a background in classical and contemporary dance who also had gymnastic or acrobatic ability, and an excellent stage presence. “The dancer needed to have the ability to perform floor acrobatics and explosive jumps and be able to take the stage and have the power to hold it with an almost dark, conniving, and playful personality.” She says when they first saw Joey at his 2010 audition he stood out not only for his technical abilities and presence, but also his great personality, attitude and work ethic. “Who could ask for more?” she asks.

Enter early to avoid disappointment.

Registration opens October 1st.

Dancers who hope to work with CDS can apply online: cirquedusoleil.com

CATCHARISINGSTAR.CA

NOVA DANCE CHALLENGE II May 20-23 | Camrose, AB

DANCE CHAMPIONSHIPS June 25-26 | Drumheller, AB (Must qualify through one of our other events) No Surprises...No extra days will be added. We only run on advertised dates.

Fall 2015 | just dance! 17

SuzanneSitsDownWith

AinslieWear.

Suzanne sits d

Ainslie posing with a painting by her father, which was inspiration for one of her bodysuits.

own with Ains

THE PAST

When and where did you start dancing, and when did you know that you wanted to make dance a career?

I started ballet and tap at a local dance school when I was six and loved it. It sure beat swimming lessons and the cold water of the pool! But it wasn’t until I was about 16 that I realized this was a path I wanted to pursue as a career.

18 just dance! | Fall 2015

What if any, was your greatest challenge?

I wasn’t blessed with a natural rock-solid technique so I had to really work at that.

If you had to choose someone, who would you say was your greatest influence as a dancer and why?

I have big respect for the late great Danish dancer noble, Eric Bruhn. When he taught class at the National Ballet of Canada, he taught to everyone, whether you were a principal dancer or first year corps. He was very supportive and encouraging.

Lastly in this area, what was your favourite role?

There are a couple of roles that bring fond memories, from when I was dancing at Ballet BC; William Forsythe’s “In the Middle,

Somewhat Elevated”, and Jiri Kylian’s “Return to the Strange Land”.

THE PRESENT

When did you realize that you were interested in creating dancewear and how did you make the transition into designing bodysuits and dancewear?

My mom taught me how to sew when I was quite young and I always loved making my own clothes. From my teen years I would re-work a leotard I had for a costume and turn it into something new after it had done its original job. I became more serious about it when I was dancing at Ballet BC; that is when I started making my own dancewear for class and rehearsals.

Then my things became popular with other dancers too, and I’d find myself sewing in my spare time. I’d then send small boxes of one-of-a-kind leotards to friends in ballet

Right: David Cooper, left: Ken Brower and Deborah Ory

In this issue of just dance! Suzanne sits down with Ainslie, Owner of AinslieWear to learn about her transition from professional dancer with Ballet BC and the National Ballet of Canada, to dancewear designer.

Suzanne and Ainslie Cyopik go way back, according to Ainslie, “almost too many years ago to remember! I had just moved from Toronto to Vancouver to join Pacific Ballet Theatre, where Suzie was a dancer.”

lie Cyopik

{ S u z anne S its D o w n W ith } companies around the world. After a few years, one thing led to another, and I got my first retailer account at the Shoe Room in Toronto.

Did you get extra education to do this, for example business or design school?

No! Crazy as that is. I’ve learned it all as I’ve gone along.

Can you give a brief history of AinslieWear - for instance, when it started, what was your inspiration, its growth and where that has taken you, and where would you like to see it go?

It actually started decades ago while I was still dancing at Ballet BC. Everyone was calling it AinslieWear before I even Ainslie posing in a BBC promo for William Forsythe’s “In the Middle, Somewhat Elevated"

had a business for it. I always loved creating things and I adored all the fabric and colour options I could work with, so it seemed natural that this would become a full time business.

Officially I got my first business license over 15 years ago, in 1997. Since that time AinslieWear has gone from me cutting and sewing in my living room, to having a factory here in Vancouver where all our garments are made. We sell to over 300 retailers worldwide as well as online at AinslieWear.com. A few years ago I brought in a business partner, Terri Margo, and the company has certainly grown since then. I definitely see AinslieWear continuing to expand. There are so many options for the direction it can go.

I’m so fortunate I get to travel and see the world through my work, visiting retailers or going to textile shows, and being inspired along the way.

Where do you get your design ideas from and is there a specific process to designing and making the bodysuits?

Bottom: David Cooper

Ainslie dancing "Lovesongs" choreographed by Wiliam Forsythe

About Suzanne: Suzanne Ouellette has performed with, taught, rehearsed and enjoyed the company of some of the world’s most famous dance movers and shakers. She has trained and danced with the world’s finest ballet companies from Stuttgart Ballet to Royal Winnipeg, as well as performed professionally as a lead dancer, singer and actress in theaters across Canada. She was ballet mistress for Ballet BC, rehearsal director for Mascall Dance and Ballet BC; and founder of the BBC mentor program. She is a creative and innovative choreographer of dance for film and television, as well as opera and theatre.

Suzanne’s passion, enthusiasm, and extensive background in many facets of the performing arts, make her in great demand as a teacher, choreographer, director and adjudicator.

Ideas come from all sorts of places.

Flipping through magazines is a great place to start, and often a single ad might start the inspiration for a specific style or even a small collection. Of course travelling, or seeing live performances can be especially inspiring. My business partner has a great eye for current trends and adds a lot of design input.

How many staff does AinslieWear have now?

There are about 25 of us.

Can you give some comparisons between designer and dancer what’s similar, what’s different?

It’s all a lot of hard work! Both require a great deal of focus and perseverance. A career in dance was certainly good prep for the business.

Advice for young dancer who perhaps is thinking of going into a similar field?

Hmmmm...If it’s really what you want to do, forge ahead!

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just dance! wants to know: What was a stand-out performance for you during the 2015 season?

Sponsored by:

Ian J.

Age: 14

Dance Trance, Surrey, BC (with Ladia Y.) My pick for the standout performance for 2015 is the Hip Hop group Ghetto Superstar. Great competition season and great choreography by Jane Marlinga.

info@DreamDuffel.com DreamDuffel.com 877.378.1260 | 763.432.0399

Ivanna V.

Vianna V.

Age: 10

Bold Dance Company, Mississauga, ON

Bold Dance Company, Mississauga, ON According to my family members, my first contemporary solo was a standout performance for me during the 2015 competition season. I even had a prop for my dance called “Fix You” -- a soft brown leather bench! This is the photo that my mother posted on Instagram after my first performance of the 2015 season! I loved this dance because I could execute the movements very slowly!

Kelsey M. A.

My lyrical solo stands out for me this year because my teacher chose a French song for me, “Je suis malade”! As a student of a Francophone school, I appreciated his choice of song for me as it made me feel special. I was able to really feel the lyrics and let the words guide my movements. I also won a “technique award” for this dance!

Jenna S.

Age: 8

Studio One Dance Center, Aldergrove, BC My favourite dance this year was my solo when I competed at View Dance Competition.

Age: 18

Street Kings Academy, Surrey, BC (The Knights Crew)

Crystal C.

The Knights is a standout performance that won High Scores, Platinums & Overalls at IDC, VIEW Dance Challenge, Core, and Synergy competitions. It was choreographed by Darylle Johnson, Paul Otterbein, and Michael Delleva. It was a challenge this year returning to competitive dance after my knee injury; Street Kings Dance Academy is a loving family.

Ashley K.

Age: 12

Age: 13

Dance City Academy, Westbank, BC A standout performance for me this year was the final time competing my modern solo. It felt different from all the other times I’d competed it. I got a high gold for my solo. Although I didn’t place, I was still proud of myself. I even got picked out by the adjudicator to demonstrate an extension because of my long legs and control.

Age: 14

Pro Arte Centre, N. Vancouver, BC Ashley is a Provincial ballet competitor in the Intermediate age division, this is her first year in this age division. When she went to Victoria in February to compete, the category was so big, 25 competitors. When they called her name as the winner… I could not believe it. Then at the end of May she competed for the Provincial Ballet II category in Powell River. Again, she was at the youngest end of this category. … I was just as nervous as she was. When they again called her name as winner... I could not have been more proud.

Respond to Win!

(submitted by her mom, Mandy)

For Winter 2016 just dance! wants to know..What's your favourite holiday dance/performance and why? Send your response including your name, age, and studio you dance with, along with a photo of yourself to: info@justdancemagazine.com.

All respondents will be automatically entered to win a FREE one-year subscription to just dance! magazine and a gift pack from Dream Duffel that includes a 3-pack of Regular Garment Bags, a 3-pack of Wooden Hangers, and a Black Hanging Cosmetic Roll.

(Contest submission deadline is November 1, 2015) Fall 2015 | just dance! 21

Professional Training Programs:

Full Day Academic and Dance Program CatchingART Aspirant Company Half Day Dance Program

Pre- Professional Training Programs: AŌer School for ages 6 -12 #3 - 1225 E Keith Road North Vancouver 604-984-2783 www.proartecentre.com info@proarte.ca

On-Site Academics Grades 6-12 On-Site Physiotherapy & Pilates Spring Break Intensives 2016:

Dancer: Ashley Klockow, Full Day Dance/Academic Student Intermediate BC Provincial Ballet Winner 2015 Photographer: Leighton MaƩhews

March 14–18: Junior and Pre-Inter Intensives March 21–24: Stage Intensive

Summer Programs 2016:

RAD Bootcamp: June 30, July 1–9 3 weeks July 11– 29 3 weeks August 8– 26

Performances:

Pro Arte’s CatchingART Company: November 14 & 15, 2015 EducaƟon without Borders Fundraiser with Anne MorƟfee November 28 & 29, 2015 Lion’s Gate Youth Orchestra December 12, 2015 Pre-Professional/Professional Program Showcase March 12, 2016 Professional Program Gala May 28, 2016

22 just dance! | Fall 2015

By Heidi T

Racquel Foran

urner

Face: Why dancers have to have it.

Even while guiding an audition, Danielle Gardner uses her eyes, eyebrows and mouth to express mood and intent.

T

hey say the eyes are the windows to the soul, and that’s especially true of dancers who must rely on their faces and gestures—rather than words—to engage an audience and tell a story. No matter how long a dancer trains, even if she has all the movements perfect, if her face doesn’t match her performance she risks losing the audience. For some dancers, it’s much easier to master a perfect grand jeté than a mournful expression, but the ability to show character through face is vital to professional dancing.

Fall 2015 | just dance! 23

Leigh Hilary Lee is a choreographer, professional dancer, and former dance adjudicator. She says remembering face isn’t just about knowing when to smile or look sad, it’s about being authentic to the performance and to the character.

just dance! cover girl Tamara Dawson pours her emotions into her performances.

“The dancer’s job is to make the audience feel something,” Lee says.

“You’re not just a dancer, you’re an actor. Your face needs to be authentic, and genuine to the character. It should be motivated by theme, character, and story. How the music moves you as a dancer is how you will portray your character.”

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The issue for many teachers is that emotional depth in a character is difficult to explore with limited studio time. With so little time in studio—and a need to learn routines quickly—face and emotion can easily drop to the bottom of the priority list. But dancers must connect with the story they’re telling in every dance, so their performance is honest.

That connection can change, depending on the dance being performed, but the philosophy of connecting to the dance is the same, no matter how long or what style the routine. Dancers in a hip hop routine, for example, might not think they’re portraying character, but Lee says there are always ways to connect with the music and convey emotion to the audience.

24 just dance! | Fall 2015

For dancers who want to engage their audiences by developing their facial expressions they must do research into the character they portray— the character’s motivations and backstory—and also into the history of the style of dance. To study how the great dancers perform with their faces, Lee says much research nowadays can be done on YouTube and social media.

“Hip hop is culturally developed, which is why it’s so important for dancers to do their research,” Lee says. “There’s a definite character there.

I tell dancers to watch videos, research the style of dance and understand the flavour of hip hop.

If they don’t understand where it comes from, it’s hard to project that emotion and character.”

Dancers can also take acting classes, where they learn about the importance of research and studying character for captivating performances. Acting classes teach dancers to connect with the stories they tell and convey emotion with their faces and bodies.

Although much focus on emotion comes from the performer’s face, Lee says she doesn’t refer to “facial expressions” when talking about dance with her students.

“I find ‘facial expressions’ superficial to the arts,” Lee says. “It’s not authentic. It’s not, ‘Are you using facial expressions?’ but ‘Do I believe what you’re dancing?

Do I believe you’re that character?’ I want to know that you believe you’re that character. That comes through with genuine performance.”

When talking with dancers about performance, Lee uses the analogy of reading a children’s book to a child. To keep the child engaged in the book,

Top photo: Mark Halliday of Moonrider Productions, middle and bottom photos: Mona D'Amours

Instructors and adjudicators often talk about remembering “face” during a dance. But for many dancers, “face” is a mysterious phrase, which usually only means “remember to smile.” Face is much more complicated than plastering Danielle Gardner on a smile Shadowstate. though; it’s how a dancer reveals character to an audience.

Great performers ask how they want the audience to feel, and use that to motivate the movements and expressions. They ask what the intention behind the routine is, and know where the emotion in the dance comes from. They know not only that the routine is sad, but why it’s sad. Asking those questions enriches a dance and gives it the authenticity the audience needs to connect with what they’re seeing.

Meanwhile, for dancers who experience stage fright the key is to practice in front of an audience—starting small at first—as

much as possible. This means performing in front of parents, classmates and other teachers, until it becomes second nature and the dancer can look the audience in the eye.

“When you go out onstage, your primary goal is to entertain and captivate your audience,” Lee says. “Can you look someone in the eye and draw them in?

That comes with a genuine performance.

I want to see you becoming the character in a natural, organic way, not from practicing in front of a mirror until the facial expressions are perfect.”

Travis Lim is making a name for himself in the hip hop world. Here he shows great "face" at Dance World Cup.

readers use different voices for each character, and emphasize certain words.

They accentuate certain sounds, or pause in dramatic spots. Rather than reading in a monotone, they read with enthusiasm, so the child feels excited about the story.

Those tactics make the story more real to the children listening, so the story isn’t one-dimensional. The same philosophy applies to performing a dance. The goal is to make it real to the audience.

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Tips for Remembering Face

In addition to doing research and understanding the emotion behind a performance, there are some tips to help ensure dancers don’t go onstage with a blank face. Among the things you can do to ensure you don’t have a blank face onstage: 1} Think about face and emotion as soon as you start practicing the choreography 2} Lift the eyebrows slightly (think about being in an interesting conversation) 3} Breathe out through the mouth to keep the mouth slightly open and jaw relaxed 4} Look around and see the things around you while you dance 5} Direct your energy to the people around you 6} Perform the routine, don’t simply do the choreography.

7} Practice performing in front of people as often as possible.

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Register now for fall! Call 604.664.1636 for more information Fall 2015 | just dance! 25

The Team Behind Team Canada Hip Hop (West)

By Heidi Turner

B 26 just dance! | Fall 2015

y the time the 2015 World Hip Hop & Break Dance Championships Mickee take place from October 21-25 in Reyes Italy, members of Team Canada West will have been perfecting their routines for almost a year. Since the auditions began in November 2014, Team Canada West’s 60 dancers— who come from British Columbia and Alberta— have been preparing for their moment on the world stage so they can show everyone the caliber of hip hop coming from western Canada.

Main image: Steve Lowe

Dancers started rehearsing almost a year before the World Championships in dance studios throughout Greater Vancouver, Vancouver Island and the BC Interior.

Roberta Bieman

Since last year, Team Canada West has been led by Paul Otterbein, the team’s lead choreographer, creative director and head coach. Through auditions involving 200 dancers, Otterbein chose 60 to represent western Canada. Although dance ability is important, it’s not the only thing Otterbein looks at when choosing his team.

“We look at attitude; do they have heart, which is huge,” Otterbein says. “We look at their schooling—are they skipping classes, are they working hard—are

Fundraising In Canada, dance is considered an art not a sport, so dancers don’t receive funding to attend international competitions. The IDO World Hip Hop Championships in Rimini, Italy will cost each dancer around $3,600 for flight, accommodations, bus transfers, entry fees and some meals. Dancers also have to pay for solo, duo and trio choreography and any costuming.

It’s not just travel to the championships that costs money; dancers from across British Columbia and Alberta must be available to rehearse in the Lower Mainland, the British Columbia Interior, Vancouver Island and the Okanagan.

Where possible, dancers who travel to weekend and summer rehearsals are billeted with other dancers, to reduce costs.

To offset some of the costs, Team Canada West is hosting a gala at the Bell Centre in Surrey on October 4, which serves as a major fundraiser for the dancers. All money made from ticket sales goes towards championships costs. The gala will include a showcase of routines that will be performed at the World Championships.

圀攀 漀昀昀攀爀 猀瀀攀挀椀愀氀椀稀攀搀 琀爀愀椀渀椀渀最 眀栀椀氀猀琀 挀爀攀愀琀椀渀最 愀 猀愀昀攀Ⰰ 渀甀爀琀甀爀椀渀最 愀渀搀 椀渀猀瀀椀爀椀渀最 攀渀瘀椀爀漀渀洀攀渀琀⸀ 圀攀 甀渀搀攀爀猀琀愀渀搀 栀漀眀 洀甀挀栀 琀栀攀 倀攀琀椀琀 䐀愀渀挀攀爀 氀漀瘀攀猀 琀漀 搀愀渀挀攀 愀渀搀 栀漀眀 搀攀搀椀挀愀琀攀搀 琀栀攀 䴀愀琀甀爀攀 䐀愀渀挀攀爀 椀猀⸀ 伀甀爀 瀀爀漀最爀愀洀猀 瀀爀漀搀甀挀攀 愀爀琀椀猀琀椀挀Ⰰ 攀搀甀挀愀琀攀搀Ⰰ 愀渀搀 攀砀挀攀瀀琀椀漀渀愀氀 搀愀渀挀攀爀猀 漀昀 琀栀攀 栀椀最栀攀猀琀 椀渀琀攀爀渀愀琀椀漀渀愀氀 猀琀愀渀搀愀爀搀⸀ 圀攀 椀渀猀琀椀氀氀 愀 氀漀瘀攀 漀昀 搀愀渀挀攀Ⰰ 椀渀猀瀀椀爀攀 琀栀攀 猀漀甀氀Ⰰ 愀渀搀 猀琀爀椀瘀攀 琀漀 挀爀攀愀琀攀 愀 戀愀氀愀渀挀攀搀Ⰰ 挀爀攀愀琀椀瘀攀 瀀攀爀猀漀渀愀氀椀琀椀攀猀 椀渀 漀甀爀 搀愀渀挀攀爀猀⸀

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To assist with fundraising, dancers are given a letter from Bonnie Dyer, director of Team Canada, acknowledging they are on the team and are fundraising to cover costs of entering the competition. On top of their time spent rehearsing for the championships, Team Canada West dancers must spend time hosting car washes, hotdog sales, silent auctions, 50/50 draws and pub nights.

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Fall 2015 | just dance! 27

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air are different, and there’s a culture shock. Some dancers were getting sick.”

That’s why choreography for October 2015 begins in January—so dancers have ample time to learn and perfect their routines and have one less thing to worry about once they’re overseas. With 20 routines including solos, duos, and small and large groups, some dancers will be required to perform multiple routines.

The rehearsal schedule is tough for dancers, who travel on weekends and during the summer to practice. During the school year, dancers train three hours a day each day on weekends—and are required to practice during the week.

The summer schedule involves even more practice: up to eight hours a day for three days straight. Rehearsals are generally held in the Lower Mainland, the Okanagan and on Vancouver Island, requiring all dancers to travel to at least some rehearsals.

Creating so many routines for dancers with different strengths requires a team, and Otterbein is quick to point out how important his fellow choreographers are in getting Team Canada West ready for competition.

they a team player, do they get along with others, and are they committed to the team.”

Sheri Mackenzie, Team Canada West manager, says Otterbein Carlos Atienza requires there be no drama on the dance team, a rule that extends to the parents. As a result, not only do the dancers get along, the parents do, too. That’s important when preparing for an international competition, where dancers must rehearse long hours and give up many of their weekends, and parents might find themselves spending a lot of time together while dancers practice.

28 just dance! | Fall 2015

Dancers’ attitude and commitment play a big role not only in rehearsal but also at the international competition, where competitors have to face the nerves of being onstage as well as dealing with the time change, being in a foreign country, and lacking sleep. Add to that the stress of performing onstage—and representing Canada—and Team Canada dancers have a lot to manage.

“It can be grueling for dancers,” Otterbein says. “Flying overseas really messes with your body. The experience last year in Germany was almost like being in a movie.

Your internal clock is out of whack, you’re nine hours ahead, you’re excited so you don’t sleep, the food and

“I have a team of choreographers hired because I can’t do all the choreography,” Otterbein says. “The team helps to put this together. These are choreographers I respect and look up to—it’s a collaboration to put this together. I would not do this without them.”

The team choreographers Otterbein refers to are Roberta Bierman, Carlo Atienza, Sam Crossley, Mikee Reyes, Michael Delleva and Zac Vran, all of whom Otterbein says he looks up to and are vital to Team Canada’s success.

Mackenzie says the result of having the various choreographers is that the dancing is diverse, and showcases the range of talent on the team.

Otterbein has set his sights on gold for the formations category—the large dance categories. In 2014, Team Michael Canada West brought Deileva home fourth place, close to a medal. Considering they were in a division with 58 teams, fourth is a huge accomplishment. This year, however, they want gold.

Team Management: Paul Otterbein & Sheri Mackenzie Paul Otterbein

Although he’s Team Canada’s lead choreographer, Paul Otterbein didn’t get started in dance until he was a young adult, after he spent 18 years playing hockey. His first exposure to dance was as a stage manager for a dance company. From there, Otterbein started teaching five- and sixyear-olds while he also taught himself how to dance. Since becoming a dance teacher, Otterbein’s dancers have won seven national titles and been ranked as high as third in the world.

In 2014, Otterbein was hired to be the lead choreographer for Team Canada, after his name was recommended to Bonnie Dyer, director of Canada Dance Organization. As lead choreographer and head coach, Otterbein is responsible for selecting dancers, finding studio space to rehearse, organizing the choreographers, choreographing dances, and ensuring dancers are prepared for the competition.

Gemini Visuals (Adrienne Thiessen)

“It challenges me,” Otterbein says. “It’s a fun, positive challenge. It can be stressful but I feel very fortunate.”

It’s not just the lead choreographer who has a demanding job; Sheri Mackenzie, team manager, is responsible for all the nondance planning, paperwork and organization. That means she ensures all the dancers’ paperwork is filled out properly and submitted in time, books venues for galas, creates fundraising committees, organizes the parents, plans barbeques, books the team photographer and coordinates payment of fees.

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RacnRoll_ #RacnRoll

A DANCER’S LIFESAVER WHEN TRYING TO SHARE LIMITED DRESSING ROOM SPACE.

of solos and duos.”

Along with them will be the parents “Paul does all the choreography and scheduling,” Mackenzie says. and family members “I deal with the details he doesn’t want to deal with.” who use the competition (Sheri would like to say a special thank you to Elisa Newton and Move Athletics, for the great service, wonderful support, and in Italy as a fabulous team wear.) way to get a family vacation They’re also taking a larger team to the together, while taking in a 2015 IDO World Championships than they world-class dance event. did in 2014. This year, the senior team and Among the stress of gearing junior team each take 24 dancers, while up for an international the children’s team will take 12. competition, it can be easy “Last year we didn’t take a children’s to forget all the positives of team,” Mackenzie says. being part of Team Canada.

“It was Paul’s first year Team Canada dancers have and we started small. the opportunity to dance on a We got there and world stage, form meaningful absorbed it all. friendships with other dancers, Sam The juniors ranked and visit different parts of the Crossley fourth and the world. They learn about the seniors were tenth dedication required for a or eleventh. Now life in dance, not to mention we’re taking three the hours of practice and the large groups, three physical demands. They also small groups and a lot get lifelong memories of dancing

in Europe and representing Canada internationally as part of a team.

“I’m in awe of the whole thing,” Mackenzie says. “Dance is subjective and you have to deal with the wins and losses. But these dancers are forming lifelong friendships. It’s so much more than the competition.”

Zac Vran

For dancers who want to be part of Team Canada in the future, Otterbein has some advice. “Treat every practice like you are onstage. It’s the only way you’ll get there. If you don’t do it in practice, you won’t do it onstage.”

The 2015 IDO World Hip Hop, Electric Boogie and Break Dance Championships take place October 21-25 in Rimini, Italy.

Fans who want to follow Team Canada’s progress can join their Facebook page, BC Team Canada Hiphop.

Fall 2015 | just dance! 29

Royal Winnipeg Ballet 2010, Moulin Rouge choreographed

by Jorden Morris.

Jorden Morris

By Jacqueline Steuart

“There have been so many highlights over the years that it’s impossible to name just a few,” reflects Jorden, and says despite his many accomplishments what drives his career is his desire to make a positive impact on the dance community and to give back. “Every time I go into a theatre, or to the studio, I think ‘what can 30 just dance! | Fall 2015

I contribute today; how can I make the dance world a better place?’ ”

So, when the Winnipeg-based choreographer and teacher was offered the chance to lead Edmonton’s Citie Ballet into the future as their new artistic director, Jorden readily accepted. “It’s

Jorden Morris’ 28-year dance career has taken him around the globe. “I’ve spent more time in theatres and studios than anywhere else,” he laughs. From Winnipeg to Boston; Atlanta to Ohio; South America to Asia, and many places in between, this jetsetting dancer, teacher, ballet master, choreographer, and filmmaker has been earnestly ticking the boxes on his professional bucket list.

a pretty big change for me,” he says of having to leave Winnipeg behind, “But I’m excited and I’m ready for it.” He adds, “Life seems to present the right challenges at the right moments, and taking life up on those moments is when incredible journeys and periods of growth can happen.” And he should know.

David Cooper

Meet the Pro:

Jorden’s incredible journey began in the I wanted to get into the company. That picturesque town of Canmore, Alberta; was always my goal.” a wildlife corridor Jorden’s dream nestled in the "...in another fortuitous turn, was realized when Rocky Mountains studied ballet at the Banff Centre of he joined the RWB bordering Banff Fine Arts with the Royal Winnipeg Ballet’s as an artist of National Park. He original co-founders, Betty Farrally and the company in grew up with his Gweneth Lloyd. It was these influential 1987. He quickly mother, father, and women who notified the RWB’ s artistic progressed two siblings, along with several horses through the ranks director, Arnold Spohr, about their and dogs. By his becoming a young, talented discovery." own description, principal dancer Jorden was a hardcore downhill skier, an and touring the world performing avid horseback rider, a keen fly-fisherman, many lead roles in classical ballets and and a novice gymnast. It wasn’t until his contemporary works. He retired from gymnastics coach nudged him to take dancing in 1999—almost. ballet classes to increase his flexibility “I had just retired from the company and coordination that Jorden even when I received a call to audition considered dancing. dancers for a new television series to As if somehow fated, Canada’s Royal be filmed in Winnipeg,” he says. The Winnipeg Ballet was, at the same time, on producers were looking to cast several tour in Alberta performing Agnes de Mille’s crowd-pleasing Rodeo. The ballet, as its name suggests, entertained audiences with ranch-inspired choreography borrowed from the familiar characteristics of wranglers, ropers and riders. “I thought the performance was awesome,” recalls Jorden, who says that as a young boy it was the combination of athleticism, artistry, and music that inspired him to dance.

Michelle Blais

By age 10, Jorden had begun to take ballet, jazz, and tap classes in nearby Calgary and, in another fortuitous turn, studied ballet at the Banff Centre of Fine Arts with the Royal Winnipeg Ballet’s original co-founders, Betty Farrally and Gweneth Lloyd. It was these influential women who notified the RWB’s artistic director, Arnold Spohr, about their young, talented discovery. Mr. Spohr responded by giving Jorden a full scholarship to attend the Royal Winnipeg Ballet School.

“I had never even been on an airplane or taken a city bus before arriving in Winnipeg,” says Jorden, who at 13 years old nervously navigated the large prairie city. “It was pretty overwhelming for a little guy from the mountains.” Despite being billeted with three different families during his high school years—this was a time before the RWB’s student residences were built—and juggling a demanding schedule that included taking the bus back and forth between home, school and the ballet studio, Jorden says quitting was never an option. “I was always: Here’s the goal; this is what I need to do.

About Citie Ballet citieballet.ca Established in 1998, Citie Ballet is Edmonton’s only professional resident ballet company. Its first performance took place one year later. The company now employs six full-time professional dancers and four apprentices.

Citie Ballet has historically performed excerpts from classical works and operates as a platform for emerging contemporary choreographers.

The Doorway chroreographed

by Jorden Morris

Performance Therapy for Dancers Helping dancers perform better, prevent injuries, and become more awesome since 2012.

“The knowledge I have gained from working with Monika is invaluable. It is incredibly advantageous for a dancer to understand the importance of taking care of your body; as opposed to other dancers who have yet to realize the importance of cross-training.”

Strength & Conditioning | Classes, Courses, & Workshops | Private & Small Group Training | Massage & NeuroKinetic Therapy®

To learn more about how strength training can change the way you dance, visit danceproject.ca or email Monika at info@danceproject.ca Fall 2015 | just dance! 31

• Associate School Director & teacher, Canada’s Royal Winnipeg Ballet • Chief Ballet Master & Artistic Coordinator, Boston Ballet • Guest Teacher, Alabama School of Fine Arts

Choreography • Peter Pan • Moulin Rouge® – The Ballet • Toy Castle Live Show Peter Pan choreographed by Jorden Morris.

• Darling, Giller Prize Awards, 2012 • Dance Me, Genie Awards, 2011

Jorden Morris Career Highlights { jorden.ca }

Awards & Nominations • Nominated for Gemini award: Best Performance in a Children’s Television Series

• Artist and Principal Dancer, Canada’s Royal Winnipeg Ballet

• Voted one of Dance Magazine’s 25 Artists to Watch

• Guest Choreographer, Atlanta Ballet, Pittsburgh Ballet Theatre, Cincinatti Ballet

• E. Virginia Williams Award for Excellence in Artistic Leadership, Boston

roles for Treehouse TV’s The Toy Castle, including the part of the Soldier. Despite auditioning other male dancers for the role, the production company wanted to cast Jorden in the lead, and he graciously accepted.

“Working on The Toy Castle was such a cool experience. If I wasn’t shooting a scene, I was either in the editing suite watching and learning, or hanging out with the camera guys.” He says being on the set was like being in a toyshop every day. “I used the opportunity to learn as much as I could about writing and directing and setting up camera shots, so that when I began to choreograph Peter Pan and Moulin Rouge® – The Ballet, all that on-set experience really came back to help me.”

Peter Pan (2006) and Moulin Rouge® – The Ballet (2009) are both sweeping full-length story ballets that proved to be box office hits when they debuted at the Centennial Concert Hall in Winnipeg. “I really try to bring a cinematic approach to the big works. I think that’s why they have been so successful with audiences.” Both ballets are now an integral part of RWB’s repertoire, and are also performed by the Atlanta Ballet, Pittsburgh Ballet Theatre, and Festival Ballet Providence.

The film version of Moulin Rouge® – The Ballet, directed by brothers Pierre and François Lamoureux of Cinemusica, took a whole year of preparation but only one week to shoot using nine cameras.

Jorden says the movie, which played at

®

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Ship Registry Panama

Jorden in rehearsal with dancers for Moulin Rouge, the movie version.

Left (Peter Pan): David Cooper Bottom: Kat Villacorta

Since 1993

Jorden Morris.

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Jorden Morris is the new artistic director of Edmonton’s resident professional ballet company, Citie Ballet, and former principal dancer, teacher, ballet master, and Associate School Director of Canada’s Royal Winnipeg Ballet.

Jorden has also been a guest teacher and choreographer at the Alabama School of Fine Arts, Pittsburgh Ballet Theatre, Festival Ballet Providence, Cincinatti Ballet, and Atlanta Ballet. His many choreographic achievements include two full-length story ballets: Peter Pan and RWB’s Moulin Rouge® – The Ballet.

Many dancers may remember Jorden as the dashing Soldier in Treehouse TV’s award-winning show, The Toy Castle, about a collection of toys that comes to life after its owners have fallen asleep.

David Cooper

Cineplex Odeon in North America and in cities across Europe, was very successful and has since been re-released in 2015 due to its popularity with audiences.

With an illustrious career behind him, Jorden says he’s looking forward to the next phase, which will be helping the young dancers at Citie Ballet grow as professional artists. “I think if you’ve been successful in this career, you are obligated to give back so that others’ accomplishments can be even greater than your own. That’s how we push the art form forward, and it’s the giving back that is most rewarding for me.”

Fusion Force Dance Studio Good Luck to all Dance Participants

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Kylie Hannan’s goal is to provide an elite, dynamic dance studio with the highest quality instructors available. She endeavors to create and maintain a caring, positive and professional atmosphere which offers dancers of all ages the ultimate studio dance experience.

Fall 2015 | just dance! 33

{ H istor y of D ance } Wheelchair users participating in a WHEEL DANCE event at the PanAm Games Summer 2015.

Below: Olesia Kornienko and her instructor, Andy Wong.

More About WHEEL DANCE WHEEL DANCE is an Associate Member of Canada Dance Sport (CDS), the Canadian Member of the World DanceSport Federation (WDSF), who in turn is the official DanceSport representative with the International Olympic Committee. The International Paralympic Committee (IPC) has an agreement with WDSF to promote Wheelchair DanceSport. WHEEL DANCE is the National body for Wheelchair DanceSport in Canada recognized by CDS and WDSF. DanceSport BC is a regional member of CDS.

History of Dance:

by Racquel Foran

S

ome things just go together: ballerinas and tutus; jazz and Fosse; and hip hop and rap music for example.

Such is the case with wheelchairs and dancing. Yes, you read right! Wheelchairs and dancing go together just as well as the pairs listed above. The required movements of a wheelchair-user-- rocking, rolling, twisting, and turning--are a natural fit with dancing, and since the 1960s the sport has been growing worldwide.

In the Beginning It all started in Scotland at a rehabilitation centre where workers used music to teach those new to a wheelchair how to use and maneuver it. Scottish music, with its reels, sets and fours was particularly well-suited for wheelchairs. Around the same time ElsBritt Larsson was also pioneering wheelchair 34 just dance! | Fall 2015

dancing for recreational and rehabilitation purposes in her native Sweden. A few years later, in 1970, The Wheelchair DanceSport Association was formed in the United Kingdom. It is a registered charity and the national governing body for wheelchair dance sport in England, Northern Ireland, Scotland and Wales.

International Growth

As the wheelchair dance sport (ballroom dancing for wheelchair users) grew in popularity competitions started popping up. The first was held in 1975 in Vasteras, Sweden with 30 couples competing.

Sweden then followed this with the first International competition in 1977. By the early eighties wheelchair dancing was starting to diversify. The first rock ‘n roll wheelchair competition was held in Munich, Germany in 1984. And in 1985 The Netherlands held the first Latin and Standard European Championships.

In 1998, 30 years after wheeling onto the dance floor, the first Wheelchair DanceSport World Championships took place in Japan. That same year, Wheelchair DanceSport became a Sport under the Governance and Management Authority of the International Paralympic Committee (IPC).

It took a few years for the sport to make it to Canada, however. The first known teacher of wheelchair ballroom dancing in Canada was Rob Campbell who started teaching classes in 1997 in Ontario. (He is still teaching and supporting the sport nearly 20 years later.)

There are four styles of wheelchair dance sport. Combi is when a wheelchair user dances with an able-bodied dancer; duo is two wheelchair users dancing together;

top left: wheeldance.ca right: youcaring.com/olesia-kornienko-380707

wheelchair Dancesport

{ H istor y of D ance } Piotr Iwanicki and Dorota Janowska, world champion Latin dancers from Poland.

groups can be all wheelchair users or a combination with able-bodied dancers; and finally solo wheelchair dancers. There are a number of genres that fall within one of three categories: Standard dances include the waltz, tango, Viennese waltz, slow foxtrot, and quickstep; Latin American dances include the samba, cha-cha-cha, rumba, paso doble, and jive; freestyle/ show dance can include any of the above genres or any other genre like folk, hip hop, ballet, or belly dancing. Groups can perform formation dances meant for four, six, or eight couples.

top left: wheeldance.ca Top right: caot.ca,

Wheelchair dance has continued to grow therapeutically, recreationally, and competitively. It is easy to understand why.

Healthcare and rehabilitation professionals all agree that wheelchair dancing of any style is hugely beneficial. The United States’ National Center on Health, Physical Activity and Disability lists 32 benefits including reduced stress, elevated mood, and improved coordination.

Recreationally it restores a sense of normalcy to a person’s life and builds their confidence. Dr. Iris Kulbatski, Executive Director of WHEEL DANCE agrees, “When surveyed WHEEL DANCE participants report improvements in balance, flexibility, range of motion, physical fitness, social interaction, and mood.”

The Floor In wheelchair dance sport the surface of the dance floor must a minimum of 200 square meters, with no side of the floor less than 10m in length.

2015 International Wheelchair Sport Dance Competitions IPC WDS World Cup (Continents Cup) September 3 to 7, 2015 | St. Petersburg, Russia International Sport Wheelchair Dance Cup October 23 to 25, 2015 | Hasselt, Belgium (Belgian Open) 2015 World Championships November 6 to 8, 2015 | Rome, Italy

but currently it is only an occasional demonstration event.

who are at various stages of learning and training.

By 2004, there were more than 5000 wheelchair dance sport participants in 40 countries, but Ed van der Vall and Sandra Kuipers, world champion Standard ballroom dancers from the Netherlands, and Piotr Iwanicki and Dorota Janowska, world champion Latin dancers from Poland felt compelled to bring their performances to Vancouver to generate awareness about the sport among the disability and health-care communities.

Again it was well received.

WHEEL DANCE is committed to raising awareness about Wheelchair DanceSport, particularly in Canada. Among the requirements for inclusion in the Paralympic Games is widespread practice, organization, and governance of the sport worldwide. Dr. Kulbatski explained that by “initiating, promoting, stimulating, and standardizing the national growth of the sport, and creating communities of social and competitive level wheelchair ballroom dancers in Canada, WHEEL DANCE is enabling competitive activity and hopes to gain recognition of the sport by the Canadian Paralympic Committee, with the goal of building a Canadian presence for Wheelchair DanceSport internationally.”

In Canada

In 2009, the Royal Winnipeg Ballet School introduced ExplorAbility a movement program for adults with disabilities.

Although not exclusively for those in wheelchairs and not ballroom, the program uses dance, music, and fitness designed for individuals with varying movement abilities.

The sport has been somewhat slow to grow in Canada. In 2003, DanceSport BC invited two prominent wheelchair dance sport athletes to perform at the Snowball Classic, an annual ballroom dance competition in Vancouver. Watching the dancers was a first time experience for most in attendance, and everyone loved it. DanceSport BC has done research into what would be involved in adding wheelchair dance sport to their regular program at the Snowball Classic,

In Ontario WHEEL DANCE was founded in 2013. Its purpose is to provide subsidized wheelchair ballroom and Latin dance classes to individuals with ambulatory disabilities and their able-bodied friends, family and community members. WHEEL DANCE is also the organizing body for Wheelchair DanceSport in Canada. And they are growing. They are currently training the largest number of wheelchair dancers in Canada—over a dozen—

There are a few other wheelchair dance sport participants in Canada, including Olesia Kornienko who since moving to Canada from Russia in 2011 has competed in The Pro-Am Fiesta 2013 and the 20th Annual Grand Ball.

Across Canada more and more dance studios, organizations, and rehabilitation facilities, are offering wheelchair dancing.

Maybe in time we will see wheelchairs on dance floors, stages, and theatres right across the country. And with the hard work of WHEEL DANCE perhaps one day Kornienko can also achieve her Paralympic dreams.

Fall 2015 | just dance! 35

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{ B alance }

Balance: Communicating with your teacher

By Monika Volkmar

B

elieve it or not, dance teachers are real people, too. They make mistakes, have a lot on their plates, and get stressed, just like you and me.

It’s important to remember this because there will be times when you need to talk to your teacher about necessary, personal stuff, and you want to make sure you time your conversation right.

in my abilities as a dancer. I should have opened up to my teachers and asked for advice, because we’ve ALL felt that way. Even the best have had their dark moments.

I kept quiet, while in hindsight I’m sure that my teachers would have shared their wisdom, if only I’d asked.

I was raised in a dance environment where voicing my thoughts and feelings was discouraged. Even speaking up to say we had to use the washroom got us put in her bad books. This isn’t right. In fact, it hurt me. A lot. No one should have to repress feelings (or pee), or be made to feel guilty about expressing pain to a mentor.

Other important issues to address with your teacher include:

Communication should be encouraged so that both student and teacher can learn more about each other, both becoming better at their craft in the process. I want to help you facilitate communication with your dance teachers, because I know it’s not always easy to approach your teacher with questions, concerns, or just to talk.

• You want career advice

Important issues to discuss with your teacher

Cylia von Tiedemann

It is important for both you and your teacher to communicate, but some issues are more important than others.

For example, I really should have spoken up when one ballet teacher made me feel bad about my body. I should have told her that I was developing an eating disorder because I was scared she would point me out for gaining weight.

I should have talked to my teachers about my injuries. I should have said that I was in pain, asked for her compassion, expressed how the injury made me feel, and that I was doing all that I could to resolve it. But I didn’t want to appear lazy and weak by sitting out. I know you’ve felt the same way, too!

As a final example, I should have shared my insecurities with my teachers and asked for their advice. I was often terribly self-conscious and lacked confidence

• You’re struggling with a particular technique • You have an injury or limitation you need her to be aware of • Your teacher is adjusting you into positions that hurt in a bad way

• You want a referral to a healthcare/ cross-training professional • You are uncomfortable with the language your teacher is using to teach • You want a genuine opinion on how you can improve

What’s the best way to open communication?

Now you know what you want to talk about, but how exactly do you communicate what you are thinking?

This is the hard part. Particularly if it’s an uncomfortable subject. How do you bring up these important issues without destroying the student/teacher relationship? I like to use the “sandwich” approach.

Bottom bread: Compliment your teacher: “I love the class we’re doing this week, I really feel like it’s a good challenge!”

Sandwich filling: “I just wanted to let you know something that maybe you can help me with. When you tell me to ‘suck in my belly’ it makes me feel bad about my weight and I can’t enjoy the amazing class you’ve planned because I stiffen up” Top bread: Compliment again and ask for help: “I know you have a lot of experience, I would love your help to

George Randolph corrects a student at his Toronto school, Randolph Academy of Performing Arts.

brainstorm a way for me to find the right posture while avoiding feeling bad about my body. “ I find that this approach to asking for guidance or expressing a concern really works because it shows that you’re asking to work together and that you genuinely care about your progress.

So as you head back to regular dance classes this fall, I hope you’ll keep an open line of communication between you and your teachers. If you’re worried your teachers won’t listen, don’t be. Most of the time they’ll be thrilled that you came to them with your honest concerns and questions because it means they can do their jobs better – that is, help you become the best dancer you can be.

Monika Volkmar (BFA, CSCS) is a strength and conditioning specialist (NSCA), Thai massage therapist, and NeuroKinetic Therapy™ practitioner. Monika earned her BFA in dance performance at Ryerson University but after a severe injury forced her to stop dancing, she began a new career in strength and performance training. Through The Dance Training Project, Monika now teaches dancers the importance of strength training for career longevity and technical excellence. danceproject.ca Fall 2015 | just dance! 37

Visit our website for direct links to listings’ websites: justdancemagazine.com

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REGISTER ONLINE AT:

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GREAT CANADIAN DANCE CHALLENGE 2016 West Vancouver, BC-Kay Meek Center Fort Saskatchewan, AB - Dow Center Medicine Hat,AB - Esplanade Theatre Lethbridge, AB - Yates Theatre Calgary, AB - Martha Cohen Theatre Kelowna, BC - Kelowna Community Theatre

DANCE EXTREME FESTIVAL 2016 Calgary, AB - Bella Concert Hall Sherwood Park, AB- Festival Place

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CRYSTAL CLASSIC GRAND CHAMPIONSHIPS

March 17-20 March 23-26 April 20-24 April 21-24 May 5-8 May 18-22 April 15-17 April 27-May 1 May 4-8 May 6-8 May 11-15 April 6-8 April 13-17 April 28-May 1 May 12-14

Kelowna, BC - Kelowna Community Theatre

July 7-10

Jasper, AB - The ULTIMATE Summer Dance Camp

July 31-Aug 5

ROCKY MOUNTAIN DANCE PROJECT

Royal City Youth Ballet Company Society proudly presents, for the 27th season, the full length ballet, the Nutcracker.

The longest running Nutcracker ballet performance in Canada!

Don’t miss your opportunity to see this unique show that delights audiences of all ages.

Audition to be a part of the cast!

Open Company Auditions Sunday, September 13, 2015 Junior Intermediate Senior

10:00 am 11:00 am 12:00 pm

Students chosen as Company members will then audition for “Nutcracker” roles starting at 1:30 pm

Open Auditions for the “Nutcracker” Ballet Sunday, September 20, 2015 Registration Auditions begin

Auditions will be held at 511 Columbia Street, New Westminster

10:30 am 11:00 am

For more information: Phone (604)521-7290 or Email: rcyb@telus.net

Artistic Director, Camilla Fishwick-Kellogg

Abbotsford Arts Centre, Abbotsford

The Act, Maple Ridge

Sunday, November 22 1:00 & 4:00 pm Tickets through the Act Box Office: 604-476-2787

Michael J. Fox Theatre, Burnaby Friday, December 4 7:00 pm Box Office: 604-664-8875

Sunday, December 6 1:00 & 4:00 pm Box Office: 604-476-2787

Surrey Arts Centre, Surrey

Friday, December 11 7:00 pm Saturday, December 12 1:00 & 4:00 pm Sunday, December 13 1:00 & 4:00 pm Box Office: 604-501-5566

Centennial Theatre, North Vancouver

Saturday, December 20 1:00 & 4:00 pm Box Office: 604-984-4484

Massey Theatre, New Westminster Sunday, December 21 2:00 & 7:00 pm Box Office: 604-521-5050

For more information, please visit our website:

www.royalcityyouthballet.org