just dance! | Fall 2014 | Vol. 3 | Issue I by just dance! magazine

Readers reveal the summer intensive they dream of attending Pages 18 + 19

Fall 2014 | Vol. 3 | Issue 1

Natasha Orchis n is in the spotlight ut o b a n lear ry o t s i h s a' Canad let of bal

Dance World Cup

where, when,& how you can qualify page 12

pointe shoe pointers Meet Canadian dancer/choreographer Gioconda Barbuto

A year @ the Joffery Ballet School:

One Dancerâ&#x20AC;&#x2122;s Experience justdancemagazine.com $4.00 PMA #42721520

Features:

INThISISSUE

One Dance Family with a Vision Beyond Our Canadian Borders ......................................... 12 By Lori Straus

My Year at the joffrey ballet school............................................ 30 By Kyla Couper

Knowledge Base: First fitting en pointe........................................................................... 20 By Jacqueline Steuart

Auditions 101: Dressing for Success..................................................... 22 By Jacqueline Steuart

Balance: Healthy Body Image............................................................. 34 By Carol Kinee

In Every Issue: publisher’s Letter...................................................................................... 4 In the Spotlight Natasha Orchison........................................................ 5 By Heidi Turner

Suzanne sits down with Gioconda Barbuto....................................... 8 just dance! Wants to Know What summer Intensive Do You Dream of Attending & Why? ................................................................. 18 history of dance Ballet in Canada................................................... 26 By Jacqueline Steuart

Cover shot credit: Mona D'Amours

Pre-Professional, Competitive & Recreational Classes

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t is hard to believe that this issue of just dance! marks the beginning of our third editorial season. It has been a whirlwind couple of years, but the journey to date has been nothing but positive. I have learned an unbelievable amount about dance and the performing arts; I have been given the opportunity to meet and work with some of the most creative people in our country; and every day I get to focus on finding new ways to celebrate the hard work and success of Canadian youth. Nothing about launching a print publication, however, is easy; especially in an age when people say print is dying. What just dance! has taught me though, is that there still is an appetite and need for print magazines. As much as we all rely on technology, there is a simplicity and beauty to a well-crafted magazine that is irresistible. At just dance!, we recognize that we are representing a beautiful art form and we have worked hard to match that beauty in our pages. The enthusiastic response we have received from readers, industry insiders and advertisers tells me we are achieving this goal. This issue of just dance! has a bit of a ballet focus. Our History of Dance feature will introduce you to the founders of Canada’s preeminent ballet companies. Suzanne Sits Down With dancer/choreographer Gioconda Barbuto who shares her passion for dance with our readers. We also have a guide to fitting your first pair of pointe shoes, as well as tips on how to prepare for an audition. I am thrilled that these articles feature pictures from some of the best dance photographers in Canada including Michael Slobodian, David Cooper and Bruce Monk; their photos bring our pages to life.

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I would also like to take the time to thank Karen Fisher-Hagel; Hillary Wood; Brittany Leavold; and Jackie Greenhalgh who have all provided free work and endless support and enthusiasm for me and my idea(s). Thank you also to the person who really turns our magazine into a piece of art, artistic director Laura Bellis – just dance! would not be what it is without her contributions. And finally, thank you to our advertisers and readers – there would be no point to publishing without you. Keep dancing!

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34A - 2755 Lougheed Hwy Suite 212 Port Coquitlam, BC V3B 5Y9 justdancemagazine.com facebook.com/jdmagazinebc Publisher & Managing Editor Racquel Foran racquel@justdancemagazine.com General Inquiries info@justdancemagazine.com Art Director (Ad production, layout & image submission guidelines) Laura Bellis laura@justdancemagazine.com Operations Assistant Meagan O’Connor Advertising Sales Jackie Greenhalgh jackie@justdancemagazine.com

just dance! magazine is available for $14 per year (4 issues) To subscribe visit justdancemagazine.com Please return undeliverable addresses to: 0970200 BC Ltd. 1220 Gabriola Drive Coquitlam, BC V3E 1G3 Tel: 778 239 9194 Publication Mail Agreement No. 42721520 Copyright © just dance! magazine 2014: Material appearing in this publication may not be reproduced in print or electronically without written permission of the publisher, and without proper credit given. Editorial viewpoints and opinions do not necessarily reflect the view of the publishers. Advertising and Photo Submissions: Ads must be submitted as a PDF or a high-res TIFF file. Photos embedded in ads must be converted to CMYK. All ads and photo submissions must be a minimum of 300 dpi. Please contact the art director at

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CORRECTION In the September 2013 issue of just dance! The photos on pages 5 and 6 were incorrectly identified: page 5 photo is Maya Tenzer; page 6 photo is Oksana Wengryniuk. Additionally, the photos were incorrectly credited: both photographs were taken by Michael Slobodian.

laura@justdancemagazine.com with any questions regarding advertisement or photo submission guidelines.

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{ in t h e s p o t l i g h t } by Heidi Turner

In the Spotlight:

Revival Arts

Natasha Orchis n

or some dancers, it’s their talent that gets them noticed, but other dancers go beyond skill. They show strength, kindness and determination, not only on stage, but also in their classes and in life. Natasha Orchison, an elevenyear-old dancer with Abbotsford Dance Center is one such dancer. Gabby Calderoni, Natasha’s dance instructor, describes Natasha as committed, hard working, respectful and kind to everyone at the studio. She’s also a talented dancer. “She has a great attitude,” Gabby says. “We never have to tell her to be nice or to include everyone. She’s genuinely kind and nice to everyone. She’s a role model. Natasha is getting to that age where sometimes attitude starts to show up, but we’ve never had to speak to her about that.” That lack of attitude may be because of how Natasha was raised. Her mom, Carlie, says the family lives by the Golden Rule of treating people how you would want to be treated. That rule extends to all areas of life, including dance. Natasha has been dancing since she was twoand-a-half years old. Carlie says she put Natasha in dance because Natasha was shy and she thought it would help Natasha get to know other children. She also thought it would help Natasha be more graceful. After starting in ballet, Natasha’s dance schedule grew to include acro, lyrical, and jazz. She says she dances approximately ten hours a week. Her favourite classes are acro and jazz. “I always have fun dancing and I feel free when I dance,” Natasha says. Natasha has also moved on to competitions. Carlie says Natasha’s dance school is involved in three competitions a year. She believes the competitions are a good way for Natasha to get to know the dance world, learn about team building, and get to see and be inspired by other dancers. “I like meeting new people and learning from them,” Natasha says. “And I like performing on stage.” Competitions also teach a dancer about perseverance, especially when they do not do as well as they might have hoped. Gabby says this year, Natasha received a lower mark than expected, but showed her determination right away. “She’s used to getting high gold or gold, but at one competition this year she got a bronze and was disappointed,” Gabby says. “I was really proud of her because at a competition a week later, she didn’t go in with a bad attitude. She went in and said, ‘I’ll do my best.’ You wouldn’t have known that the previous week had happened. That sort of thing can really affect Fall 2014 | just dance! 5

{ in t h e s p o t l i g h t } performer. In acro, your body is doing things you’re not meant to be doing, but she doesn’t complain about it. When I tell her we have to do core or planks, she doesn’t say anything about it. She never says she won’t do something. She will always try to the best of her ability. Her hard work and determination make her stand out.” Natasha would like to continue with dance, possibly becoming a jazz teacher. Her favourite solo from this year was her jazz routine, “Do Your Thing.”

dancers, but she was able to move past that. It was really good to see.” Another issue young dancers face is that they grow while they’re learning to dance, and that growth can change how their bodies perform certain movements. According to Gabby, Natasha grew taller throughout the past year, forcing her to relearn some of her technique. “Natasha does not complain,” Gabby says. “That’s such a good quality in any

6 just dance! | Fall 2014

“I do see her continuing with dance for a long time,” Gabby says. “She’s so passionate about it. At her age, dancers sometimes cut down on dancing because they find it difficult going into middle school and dancing. Natasha hasn’t cut down, she’s taken more, and I see her continuing with that.” Along with her hard work, determination and kindness, Natasha is a talented dancer, Gabby says. “I have watched her turn into the beautiful intermediate dancer she is today,” Gabby says. “This is Natasha’s first year doing the intermediate/senior acro choreography. Our acro piece is, in my opinion, one of our studio’s hardest dances. Natasha

has impressed me. She is in a class with students who have been doing acro for four or five years, but you cannot tell that this is her first year.” Carlie, Natasha’s mom, is most taken with Natasha’s lyrical dancing. Although she supports both her daughters in dance— Natasha's eight-year-old sister Sienna also dances—she encourages Natasha to be practical with her dreams. “Lyrical is my favourite of the dances because it’s so expressive and emotional,” Carlie says. “I get teary eyes when I watch her dance. I’m proud of her. But I say that dancers have to have a back up plan because dancing is a lot of work. It’s hard on your body and you can get injured. You don’t want your dreams to be crushed, so you have to have something to fall back on.” For now, though, Natasha will continue on in her dance, impressing her teachers at the same time. “Natasha is everything that I look for in a student,” Gabby says. “… she never has to be told to dance full out. Her passion for dance is so obvious. That’s what makes her special.

Dance Snaps

Natasha competing at Shine Dance Festival in Mission, BC.

{ in t h e s p o t l i g h t }

Challenges Young Dancers Face Dancing at any age presents challenges, but there are some specific challenges that dancers entering their teens face. It’s important to be aware of these issues. school and dance. Dance 1. Balancing may be your career goal, but it’s vital you continue to spend time on your schoolwork, especially if you want to take a university dance program. Make sure you have enough time each day to do your schoolwork, even if you have to do it between dance classes. think you’re invincible. 2. Don’t Although young dancers’ bodies tend to rebound from injury, long-term problems can occur by not taking proper care of your body. To reduce the risk of injury, always warm up and cool down properly. Make sure you get enough rest between dance sessions; deal with any injuries right away (including taking a break from dance to heal an injury); make sure you’re using proper technique; and listen to your body. Pain is your body’s way of telling you something is not right. Young dancers face 3. Growing. changes in their body all the time and those changes might have a bigger impact than simply requiring a slightly larger bodysuit. Getting taller might mean that how you perform walkovers, leaps, runs and other moves changes. You have to accept that as your body changes, how you perform some moves might change, too. Don’t forget, as you get taller, your centre of gravity changes. Work with your choreographer to make sure your routine accommodates those changes.

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SuzanneSitsDownWith Respiro, solo for Gioconda Barbuto, choreography by Gioconda Barbuto.

ioconda and I met as professional training students at the Royal Winnipeg Ballet and as performers with the Banff School of Fine Arts where we became great friends. Our careers took us to opposite ends of the country, mine here with Pacific Ballet Theater then Ballet B.C. and hers to Minnesota Dance Theater, then Les Grandes Ballets Canadien in Montreal and then Nederlands Dans Theater III in Holland. We saw each other in various cities at many different times during our careers, mostly on tour. I was thrilled to reconnect with her here in Vancouver this past year and that I got the opportunity to see her latest choreography "immix" for Ballet BC. I am very happy to introduce you to my talented and beautiful friend Ms. Gioconda Barbuto.

8 just dance! | Fall 2014

Who was your first inspiration as a young artist? Carla Fracci, one of the first ballerinas I saw in photos introduced to me by my family. Coming from Italian heritage, she was the ballerina they knew of. She was beautiful, graceful and dramatic, I was inspired. Many years later I was introduced to her after my performance of Lilac Garden at the Sadler’s Wells in London…….what a thrill.

Your first ballet teacher was quite a leading light for you I understand, tell me about her influence on you. Gladys Forrester was a very important part of my dance training. She taught me

much of what I carry with me today— that every part of my body speaks, to be sincere in your intentions, to think, to study, always explore further—I looked forward to her classes every day.

Your career path was not typical of that of many dancers, tell our readers about your journey. I always danced as a young girl, but my training started at the age of nine; I worked hard to accomplish all of my Royal Academy of Dance exams. Coming from a traditional Italian family, dance was not always viewed as the best future for young girls to pursue, but my parents always supported me completely. The rest came

{ S u z anne S its D o w n Wit h } around once they realized I was serious about my dance career and that I was totally devoted to it.

When did you start choreographing?

My professional career began with the Professional program of the Royal Winnipeg Ballet where I had the opportunity to perform in the corps of Nutcracker and other ballets. Two years later I was invited to join Minnesota Dance Theater, then Les Grands Ballets Canadiens for 16 years. Not ready to retire, I pursued an independent career as a dancer/ choreographer, performing with many

but it was my gym

As a young girl I always created little dances, teacher in school that first encouraged me to put on a little dance piece for a school show. I didn’t know what I was doing or how to do it, but I listened to my instincts, had eager students, beautiful music, and I had a lot of fun seeing the story and the movement come together.

Nederlands Dans Theater III, choreography by Johan Inger, dancer: Gioconda Barbuto. Left: Spanish Lead, Les Grands Ballets Canadiens, choreography by Fernand Nault, dancer: Gioconda Barbuto.

Gioconda Barbuto Suzanne Sits Down with

All Photos by: Michael Slobodian

dance artists and creating solo projects. Then to my greatest surprise, Jiri Kylian invited me to dance with Nederlands Dans Theater III, a company of dancers over age 40. So there I was for eight more years, a privilege and a dream come true.

Les Grands Ballets Canadiens, choreography by Anthony Tudor, dancers: Gioconda Barbuto with Edward Hillyer.

I always enjoyed working with choreographers, intrigued by the feeling that I could finish a phrase or a movement. I was a muse for choreographer Larry Hayden at Royal Winnipeg Ballet and others throughout my career. I learned a lot from watching, listening, and developing the works with them.

While focusing on my dance career in Winnipeg and Minnesota, I think a part of me used this time to observe and build my confidence to choreograph professionally one day. The opportunity was presented to me at Les Grands Ballets Canadiens when I took part in a choreographic workshop, later becoming the coordinator for this yearly event, which also led to creating two full works for the Company later on. My first professional piece was for Ballet Jörgen, shortly after that I won the Clifford E. Lee Award, and that led to many invitations including from Les Grands Ballets Canadiens, Alberta Ballet, Les Ballet Jazz, Minnesota Dance Theater, Nederlands Dans Theater workshops, You Dance/National Ballet, Arts Umbrella Dance, North West Dance projects, Ballet BC, Ballet Kelowna, and for film,

Piche/Ferrara and Bravo. Most recently I directed and choreographed a fulllength production for the graduates of the National Circus School in Montreal, an exhilarating new experience!

Has your body been an easy one to manoeuvre around the dance world with, or have you had to deal with injuries? It is perfectly normal to incur injuries in this profession, but I think a great advantage I had was becoming a versatile dancer with a strong classical base strengthened by contemporary work. But I also have to add that I am grateful for all the years of private pilates lessons. Today I combine my training with pilates, yoga and a daily ballet barre when I can. Gioconda Barbuto in rehearsal with BBC dancer Alexis Fletcher (Creation entitled immix for Ballet BC).

Fall 2014 | just dance! 9

{ S u z anne S its D o w n Wit h }

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Tell us about how you share your passion with young dancers and what you want to get across to them. I share everything I can with

Solo Creation for Gioconda Barbuto. Choreography by Ginette Laurin, dancer: Gioconda Barbuto.

an open heart and mind. My life and dance experiences are part

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of who I am and what I can share, but a mutual exchange is important to me. I like to listen to the room to see what we can communicate and collaborate in the most sincere

Lifelines, choreography by Gioconda Barbuto & Emily Molnar, dancer: Gioconda Barbuto.

way. I try to create a comfortable environment where the students feel free and are curious to explore and play. Where they can be open to all possibilities and walk in new directions.

“What is one thing you think every aspiring young professional dancer should know?” To always try to work with an open and curious mind. To know that there are times that it won’t be easy, but it’s all part of a bigger picture. That you are not alone. 10 just dance! | Fall 2014

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 theater. 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.

2nd Runner-Up, 13 & Up Groups of the Year Urban Dance Company, Saint John, NB. Below (left): National 13 & Up Dancer of the Year, Tamara Dawson.

n o i s i V a h t i w y l i m a F e c n a D e n O

by Lori Straus

ave you ever wondered what dance is like in other provinces, or even other countries? How is the artistry the same or different? What influence does geographical location and culture have on dance? How good are dancers from other places, and how do you measure up?

Mona D’Amours, as director of both 5678 Showtime and Dance World Cup, can shed some light on those questions. Her experience with regional and national dance competitions, as well as Dance 12 just dance! | Fall 2014

World Cup, an international competition held on Canadian soil, gives her a broad perspective.

5678 Showtime Crosses Borders D’Amours and her husband Desiderio Fortunato established 5678 Showtime in 1994 with the motto “One Competition, One Dream.” The dream was to host dance competitions and conventions in every province in Canada. It took almost 20 years, but they achieved their dream. 5678 Showtime was the first convention/ competition in St. John’s, Newfoundland in 2012, with only 4 studios and 16 entries.

Within two years, 11 studios with 147 entries competed, and 151 dancers registered for the convention. 5678 Showtime now host competitions in nine of ten Canadian provinces. “There are only two studios in PEI and they compete with us in New Brunswick. We can now offer our conventions and competitions to all Canadians,” says D’Amours proudly.

Some win, some don’t Crystal trophies are presented to the top three routines in each category plus more than $75,000 in cash is awarded each year. Competing does not however,

Mona D'Amours (all photos)

1st runner-up Dancer of the Year, Margaux Labossiere, Winnipeg, MB

Travis Lim

One Country, Many Differences Most national dance competitions in Canada only hold regionals in a few provinces. Traveling across all five time zones and with an international body of judges and teachers has allowed D’Amours’ to observe different trends and specialties across the country: Most common genres of dance? Contemporary, Jazz, Hip Hop

Most common themes in dance? Bullying, eating disorders, drugs, cancer, aging, love and loss. Popular themes in the Maritimes?

Core values, storms, fishermen, and everyday life. World capital of hip hop?

Where do the most boys dance? Quebec, and Manitoba though it is growing across Canada. Where do the most adults dance? Quebec. “This past year, 67 adult groups ages 20 – 60 years competed in Quebec. There are few adult groups in the rest of the country.” Most popular forms of dance? Lyrical and contemporary for girls; hip hop and breakdance for boys.

Quebec. “The two top world champion groups in hip hop are from Quebec,” D’Amours says.

s r e d r o B n a i d a n a C r u O d n o y e B Dance style found in only one part of the country? Acadian step dancing in the Maritimes.

about. They have to learn how to lose in

order to learn how to win,” says D’Amours.

automatically lead to an award. Dancers must earn their awards. Winning by rank instead of score eases up the requirements for standardizing judging provided a judge follows a consistent standard. There are, of course, category breakdowns (30% choreography, 30% technique, 30% performance, and 10% appearance). D’Amours also advises judges to work within a range for each element. “Based on the bell curve theory, I recommend that most of the scoring should be between 24 and 27. If a judge feels an element is very weak, then the score drops between 20 and 23, and if it’s outstanding, then it’s 28, 29, or 30,” she explains. D’Amours strongly believes that loss is one of the best teachers in life. “I believe you’re harming children by making them live with the illusion that they will always win in life, because that’s not what life is

The judges come from a wide background, and D’Amours feels this gives the students the widest possible range of feedback. The judges vary from easy to hard markers. D’Amours has found cultural differences as well, “Americans mark high, Europeans mark low, and Canadians are in the middle,” she says. Santé D’Amours Fortunato, one of Mona D’Amours’ three children, judged Dance World Cup this year. An accomplished circus performer with a strong background in dance, she certainly has a lot to bring to the table. She looks for the make-believe when judging. “I want them to make me believe whatever I’m seeing. If it’s just a pasted-on smile, then I don’t believe their performance.” Rick Tjia was also a member of the jury at Dance World Cup. Tjia describes himself

Cover Girl Tamara Dawson

The 5678 Showtime Nationals took place in

as brutally honest. “Knowing Mona, she knows I’m going to be honest,” he says. “The point is to tell [the dancers] the way it is, but constructively, so they can take that information and make themselves better.”

Cirque du Soleil Casting Since 2012, Cirque du Soleil Casting has been involved with 5678 Showtime Nationals by offering workshops in Contemporary, Hip Hop and Improv. An artistic talent scout is also on the jury for Dance World Cup, which is a rare opportunity for dancers. Tjia is also Artistic Talent Scout-Dancers for Cirque du Soleil. When judging at Dance World Cup he is also looking for dancers to audition for the world-famous Canadian performance company. He is on the lookout for more than just technique in top dancers. He is looking for artistry. “Competition dancers have a tendency to put a lot of emphasis on technique, which is obviously very important, but I’m also looking for artistry and what you can do with it,” says Tjia.

Advice: “I take in and absorb all the advice and feedback I receive (both positive and negative) from every adjudication, master class, convention class, dance practice, even throughout everyday life.”

Tamara started dancing at three years old.

Practice: “I’ve developed my own personal fitness schedule. I dance everywhere that I can. I use space within both of my dance studios as well as the Langley Events Centre. I consistently keep up my cardio and body figure through my workouts and long stretching sessions. Healthy eating is a big contributing

She dances at both Vitality Dance Company

factor to my improvements, as well as a positive attitude.”

and Cameron Academy of Classical Dance

Biggest supporters: “My mom, dad, sisters, Nana and Papa, as well as the rest of my beautiful family—they will always be my everything, and I am so proud to have such a wonderful, supportive, and loving family with me every step of the way.

Niagara Falls, ON in 2014. The National 13 & Up Dancer of the Year was 19-year-old Tamara Dawson.

in Langley, British Columbia and is accomplished in RAD ballet, contemporary, jazz, lyrical, modern, hip hop, and breaking. just Dance! asked Tamara to share some advice with our readers.

Fall 2014 | just dance! 13

2nd Runner-up, Dancer of the Year, Kyla Doderai, Saskatoon, SK.

Dance World Cup 2014 Foreign High Score - Dance Factory, Cyprus representing Russia, Greece & Cyprus.

Artistry, however, is not easy to achieve at a young age. Tjia speaks about the contradiction of dance that some of the other arts don’t experience: “When you’re young, you have the body, you have the physique, you have the energy, and the daring, but by the time you’re emotionally and artistically mature enough to really, really show something real, the body gives out.” He also agrees with Santé Fortunato, “It’s not just about plastering a smile on your face. It’s about touching

14 just dance! | Fall 2014

the audience and making them feel something. And the thing is, if it’s fake, the audience will know. They might not know consciously, they might just say, ‘Something is not right.’ They’ll know, they’ll know intrinsically,” says Tjia.

Dance World Cup 5678 Showtime’s regional events also offer dancers the opportunity to qualify for an international competition on Canadian soil, Dance World Cup. The competition is recognized by CID (Conseil International de la Danse/International Dance Council), the largest organization in the world that represents dance. Dance World Cup has attracted over 7,000 dancers from 27 countries since 2008. Participants come from all over the world, including countries such as Brazil, Russia, China and Japan. Entry into Dance World Cup is by invitation only. Canadians are invited after meeting criteria established by CID in conjunction with 5678 Showtime, which has the legal trademark to host Dance World Cup.

Passing the Torch After 20 years as director of 5678 Showtime, Mona D’Amours is stepping down and passing the reigns to her son,

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World Cup.” “I respect our bilingual identity and our multicultural heritage. My focus is to give young Canadians the opportunity to learn, and to appreciate one another to build a stronger nation for the future of dance,” she explained. She wants to build on this dream on an international level. Her first step is to travel to the CID WORLD CONGRESS in Tokyo, Japan October 23 – 27, 2014 with the BC Ambassador 2013, Travis Lim, and BC Ambassador 2014, Tamara Dawson. She will promote Dance World Cup 2015, which will take place at the Fairmont Château Whistler, BC, July 1 to 5.

Dance World Cup 2014 Results by Province •

Foreign High Score – Dance Factory, Cyprus representing Russia, Greece Cyprus

•

British Columbia High Score – Tamara Dawson, Langley

•

Alberta High Score Groups – Dance Soul, Stony Plain

•

Saskatchewan High Score – Kayla Doderai, Saskatoon

•

Manitoba High Score Group – Marquis Dance Academy, Winnipeg

•

Ontario High Score – Autumn Mills, St Thomas,

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Québec High Score Groups – École de Danse PerformDanse, Québec

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New Brunswick High Score Groups – Urban Dance Company, Saint John

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Nova Scotia High Score Groups – Anne-Marie School of Dance, Saulnierville,

For Fall enrollment contact: Ms Bloch at info@balletbloch.com

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Newfoundland High Score Groups – Revolutions Dance, Mount Pearl

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Labrador High Score Solo – Emma Edwards, Happy Valley-Goose Bay

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Sheu Fortunato. She and her husband, Desiderio, will be traveling the world promoting Dance World Cup. She has a new motto, “One Canada, One Dance

5678 Nationals 2014 Cash Awards: Dancers of the Year: $2,625 Cash Awards

• Wei An Lau, Winnipeg, MB, 12 & Under Dancer of the Year • Elena Pike, Happy Valley-Goose Bay, NL, 1st Runner-Up Dancer of the Year • Emma Edmonds, Happy Valley-Goose Bay, NL, 2nd Runner-Up Dancer of the Year • Tamara Dawson, Langley, BC, 13 & Up Dancer of the Year • Margaux Labossière, Winnipeg, MB, 1st Runner-Up Dancer of the Year • Kayla Doderai, Saskatoon, SK, 2nd Runner-Up Dancer of the Year

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Franchesca Suazo Age: 14

NuEvolution Dance Studio Queen Creek, AZ I dream of going to summer intensives in several places. One that I would love to experience is Ballet West’s. After watching Breaking Pointe, I was inspired by their dancers and the program. I would love to have that experience. After that would be locations on the west or east coasts. There are so many amazing ballet companies and schools.

What summer intensive do you dream of attending and why? Teegan Stoudt

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The summer intensive that I dream of attending is definitely The Hollywood Summer Tour!!! The reason I want to attend this program is because it is such a unique program, there is nothing else like it! I also feel that this program would help me grow as a dancer, it would be an amazing opportunity to take risks and expand my dance vocabulary.

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The summer dance intensive that I want to attend the most is the Vancouver International Tap Festival August 28th31st. I want to go to this intensive because I am from a small town and the talented faculty at the intensive is so amazing. I want to learn as much as I can about tap because I love it and I just want to grow and become a great tap dancer. Find all your Dance & Costume supplies online at jazz-ma-tazz.com

Fall 2014 | just dance! 19

Step 2

by Jacqueline Steuart

First Fitting En Pointe

Sit Down & Try On How do they feel? Communication is very important stresses Meinické. You must let your fitter know if the shoes feel too short or too tight. Your toes should never feel cramped or bent inside the shoe.

Heather Ogden, principal dancer with National Ballet of Canada.

But the truth is, it takes years of hard work and daily practice to achieve such grace and technical skill en pointe, and it all begins by getting properly fitted with the right pair of shoes.

Price Pointe Pointe shoes cost anywhere from $80$150 per pair in Canada, so some parents might be tempted to buy shoes that are a little big, thinking they will last longer. Renate Meinické, owner of Avalon Dance Shop of Canada Ltd. in Vancouver, B.C., has been fitting pointe shoes on young dancers for 25 years and she says this is a big mistake. “Dancers must have a professional fitting especially for their first pair of pointe shoes,” Meinické advises. “If the shoes are too loose, the foot will slide and all the dancer’s weight will be put on to the big toe.” (This could create a bunion—a painful bone deformity where the big toe joint swells and protrudes from the foot.) Also Meinické notes, “Shoes that do not fit properly cause friction that creates painful blisters, or worse a sprained or broken ankle.” 20 just dance! | Fall 2014

Pointeby-Pointe Pointe shoe fittings can take up to 45 minutes or more, so make sure you plan to spend as much time as you need finding the right shoes for you. Also, some dance shops may require you to make an appointment, so be sure to call ahead.

Step 1

Get Measured Make sure you are wearing footed tights, not convertibles. Pointe shoes do not use the same numbered sizes as street shoes. The fitter will measure your feet and scrutinize them noting any differences in toe length and foot width. Occasionally, a dancer will have to buy two different sizes of pointe shoes.

Bruce Zinger

Professional ballerinas make dancing en pointe look easy. They seem to glide quietly and effortlessly across the stage, turning, leaping, and balancing, as if light as a feather and dancing on air. So, there is nothing more exciting in a young dancer’s life than being told she is finally ready to get her first pair of pointe shoes.

Sometimes the fitter can look and see that the shoe doesn’t fit right especially on new dancers. If they are too big, Meinické may suggest you try an Ouch Pouch (a thin gel insert placed over the toes) to help make the shoe fit better. Also, make sure to adjust the drawstring by carefully pulling the strings together, not

apart; otherwise the stitching around the vamp (the U or V shape of the shoe box) may tear.

Step 3

Do a Grand Plié How does the shoe feel in grand plié? If the toe is touching the front and pushing too hard then you may need to try another pair of of shoes.

Step 4

A CRUISE PROGRAM

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The fitter will instruct you to hold onto the ballet barre and step up to first position en pointe. Keep telling your fitter how the shoes feel. Repeat this process until you find the perfect pair of pointe shoes.

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Step 5

Show your Ballet Teacher Before you sew on your ribbons, make sure to show your ballet teacher the shoes that you have selected. Meinické suggests putting a towel on the floor (so the shoes do not get dirty) and stepping into the shoes so your teacher can make sure you have the correct fit.

Step 6

Sew Ribbons & Elastics After your ballet teacher has approved your purchase, you must sew satin ribbons and elastics on to your new pointe shoes. Uncut ribbons should be purchased where you bought your shoes and elastics are usually included with the shoes. Cut the ribbons into four equal pieces and the elastics in half. Make sure to cut the tops of your ribbons at a slight angle to prevent them from fraying. Fold in the heel of the shoe to determine where you will need to place the elastics and then the ribbons. Ask your ballet teacher, shoe fitter, or other dancers to help guide you.

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Auditions 101: Dressing for Success by Jacqueline Steuart

Do’s & Don’ts for All Auditions DO: Arrive 45 minutes to one hour beforehand to sign-in and warm up. DO: Bring water and a snack to your audition. You never know how long your day will be. DO: Bring a resume and headshot. DO: Pack your dance shoes, extra hair clips, hairspray, body suit, tights, and safety pins. DO: Ask questions if you don't understand something. Don’t: Chew gum. Don’t: Leave your cellphone turned on in your dance bag. 22 just dance! | Fall 2014

Don’t: Talk during your audition, unless it is to ask a question. Don’t: Over-inflate your resume. Always be truthful. Don’t forget to bring your smile.

Ballet School Audition Hair: Dancers must secure their hair in a classic ballet bun, or use headbands and hair clips for short hair. Use hairspray or gel to eliminate wisps and control bangs. Bodysuit: Wear a flattering form-fitting bodysuit that is simple in style. This means no criss-cross backs, fussy strings, or bright colours. Tights: Pink tights must be clean without holes or runs. Wear convertible tights if you’ll need to prepare your feet for pointe or contemporary work. Shoes: Ballet shoes should always be clean and in good repair. If pointe shoes are required at your audition make sure they are not brand new or too broken-in. Don’t forget to pack your Ouch Pouches, toe caps, or whatever else you may need to keep your feet comfortable.

Leg Warmers: Remove all warm-up clothing before the audition starts. This includes legwarmers, sweaters, plastic shorts or pants. Makeup: Keep makeup light, natural, and flattering to your face. No need for bold lips or dark eye makeup. Nail Polish: Clear polish is preferred on clean, manicured nails. Jewellery: Keep it simple. Small stud earrings are acceptable. Dangly earrings or large hoops are not, and necklaces are not recommended. BOYS: Boys should wear a form-fitting white t-shirt with a pair of black shorts or tights, and clean black ballet slippers.

Ballet Company Audition Paul Destrooper, Artistic Director of Ballet Victoria, says emerging or seasoned professional dancers are welcome to submit their resumes, head and body shots, along with any links to recent performances in advance of being invited to audition for the company. Auditions are usually arranged with the artistic staff. Hair: Secured in a flattering style to suit your face.

Bruce Monk

uditions are a huge part of a performer’s life, and every audition is different. Whether you are trying out for a ballet school or company, a musical theater production, or film and TV work, knowing how to present yourself at your audition is the first step towards having a successful day, so you’ll have nothing to worry about but having fun.

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Bodysuits and Tights: An unfussy formfitting bodysuit with pink tights is a good choice.

Bring your Sheet Music: A binder or DuoTang with your hole-punched music for the accompanist.

Shoes: Auditioning ballerinas will likely be required to perform the whole audition in pointe shoes.

No Props: A chair is fine, if necessary, but leave props at home. Interrupting someone else’s audition to get your props back will not impress the audition panel.

Makeup and Nail Polish: Subtle and flattering. Jewellery: Not recommended; it can be

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Men: Wear tight fitting clothes like t-shirts, shorts, or tights that shows physique to its best possible advantage. Warm-up gear: Should be removed.

Musical Theater Audition Royal City Musical Theater’s Production Manager, Chelsea Carlson, says if your singing is going to knock your audition out of the park then it is not going to matter what you are wearing. She advises singers to dress like they’re going to a job interview. Sometimes, it is appropriate to indicate the character or the era of the show. For example, if auditioning for the role of Annie you could wear a nice dress or a cute pair of shoes. Clothing: Keep it simple. Adult Character Actors: Dressing the part can be great if it helps make the character, but sometimes it can make the people running the audition uncomfortable if the actor has spent too much time on their costume and not enough time preparing the material. Shoes: Learn in advance what kind of dance shoes you’ll need to bring: pointe, ballet, jazz, tap or street.

24 just dance! | Fall 2014

Bring your Headshot and Resume: Don’t worry if you do not have a lot of performance credits, but be sure to include all your training.

TV Commercials, Films or TV Show Auditions Auditions for film, television and commercials are usually very specific when it comes to age, height, weight and other requirements. Your agent or other representative will give you the character breakdown. The breakdown will tell you what to prepare and how to dress for the audition (unless it is an open call then you would check the company’s website for the information). Dress: Clean, uncomplicated clothing choices are best. Avoid wearing black or white near your face. Much like a musical theater audition, keep dress simple unless it is a character part, like a clown or something and then you can indicate that character with funny shoes or an unusual tie. Leave eyeglasses off unless you need them to see. Glasses sometimes produce a glare on camera. If it is a dance audition, wear appropriate dance shoes and clothes. Props: Leave them at home. Hair: Should be in a ponytail or neatly swept back off your face. Secure long hair and bangs if they are likely to fall into your eyes during your audition. This goes for men and women. Makeup: Age appropriate. Children do not generally need makeup for auditions. Older girls can even out skin tone and cover blemishes with a medium coverage, matte foundation and a non-greasy concealer. Emphasis your best features, but natural looking makeup is always best. Avoid heavily rimmed eyes and dark lips, unless it is a character choice.

Royal City Youth Ballet Company Society proudly presents, for the 26th 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 Saturday, September 6, 2014 Junior Intermediate Senior

Open Auditions for the “Nutcracker” Ballet Sunday, September 7, 2014

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

Registration Auditions begin

10:30 am 11:00 am

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

Auditions will be held at 511 Columbia Street, New Westminster

Artistic Director, Camilla Fishwick-Kellogg

Michael J. Fox Theatre, Burnaby

Abbotsford Arts Centre, Abbotsford

Saturday, November 22 2:30 pm Tickets through the Act Box Office: 604-476-2787

The Act, Maple Ridge

Sunday, November 23 1:00 & 4:00 pm Box Office: 604-476-2787

Friday, December 5 7:00 pm Box Office: 604-664-8875

Surrey Arts Centre, Surrey

Friday, December 12 7:00 pm Saturday, December 13 1:00 & 4:00 pm Sunday, December 14 1:00 & 4:00 pm Box Office: 604-501-5566

Cowichan Theatre, Duncan

Centennial Theatre, North Vancouver

Sunday, December 21 1:00 & 4:00 pm Box Office: 604-984-4484

Massey Theatre, New Westminster Monday, December 22 1:00 & 4:30 pm Box Office: 604-521-5050

Friday, December 19 7:00 pm Saturday, December 20 1:00 pm Box Office: 250-748-7529

For more information, please visit our website:

www.royalcityyouthballet.org

Fall 2014 | just dance! 25

{ His t o r y o f D ance }

History of Dance:

Ballet in Canada

present a mixed repertoire showcasing three distinctly different works: the classical ballet for the balletomane, a comedy for her husband, and a modern piece for the thinker. It is a formula that has endured as the Royal Winnipeg Ballet celebrates its 75th anniversary in 2014/2015. The versatile company of 26 dancers continues to delight worldwide audiences with its diverse classical and contemporary repertoire. Many of the works have been choreographed by alumni, including Mark Godden, Nina Menon and Jorden Morris. Despite early setbacks like the fire that destroyed the company’s studio, sets, costumes and archives in 1954, the Royal Winnipeg Ballet (formally acquiring its Royal status in 1953) thrived in later years under the direction of Arnold Spohr (1958–88), who nurtured the talent of one of the world’s most beloved ballerinas, Evelyn Hart.

THE NATIONAL BALLET OF CANADA 1951-

ire, rivalry, opposition from clergy, and the looming threat of bankruptcy have all contributed to the colourful history of ballet in Canada.

Although ballet had been around for centuries in Europe prior to 1939, it wasn’t until then that Canada’s first professional company took to the stage. While the country already had many established dance teachers prior to this time, their students were forced to pursue professional careers abroad. Recognizing the potential of homegrown talent and the need to develop companies whereby dancers could forge a cultural identity in their own country, the early pioneers of dance in Canada began to lay the foundation for what would become some of the world’s leading ballet companies. Ironically, none of the founders of Canada’s three major ballet companies were actually Canadian.

Canada’s Royal Winnipeg Ballet 1939British ballet teachers Gweneth Lloyd and Betty Farrally founded Canada’s first professional troupe, the Winnipeg Ballet Club. They offered free training to young 26 just dance! | Fall 2014

dancers who Celia Franca Founder National Ballet of would eventually Canada) perform Lloyd’s choreography to a paying audience. It wouldn’t be until 1951, however, that the dancers themselves were paid $100 per month for a ninemonth season. Lloyd and Farrally subscribed to a simple formula they hoped would entertain and boost their audiences. Lloyd called it the “beer and skittles” Gwenyth Lloyd approach to making dance accessible, Betty Farrally according to a RWB founder quote in dance historian Max Wyman’s book Dance Canada: An Illustrated History. The women would

Meanwhile in Toronto, choreographer and teacher, Boris Volkoff, was encouraging British-born dancer, Celia Franca, to move to Canada to become the artistic director of the National Ballet Guild. Rumours of the new company troubled the established Winnipeg troupe who feared there weren’t enough trained dancers to support two companies. Their Karen Kain, National Ballet of Canada in Giselle.

The Royal Treatment In 1953 the Winnipeg Ballet Club’s steadfast and well-connected supporter, Lady Madge Tupper, successfully petitioned Buckingham Palace to have Royal added to the company’s title. Lady Tupper hoped the rare and prestigious endorsement by Queen Elizabeth II would boost the company’s international marketability. The Royal Winnipeg Ballet became the first company in the Commonwealth to be granted such an honour.

main: David Street top: Janine (1951), middle: unkown photographer bottom: Phillips-Gutkin (1956)

by Jacqueline Steuart

{ His t o r y o f D ance } Today’s Canadian professional classical, neo-classical, & contemporary ballet companies.

Karen Kain Artistic Director with Artists of the National Ballet of Canada

• 1939 Canada’s Royal Winnipeg Ballet

• 1987 Ballet Jörgen Canada, Toronto

• 1951 National Ballet of Canada, Toronto

• 2001 Atlantic Ballet Theater of Canada, New Brunswick

• 1957 Les Grands Ballets Canadiens de Montreal

• 2002 Ballet Kelowna, BC

• 1966 Alberta Ballet Company, Calgary

• 2002 Ballet Victoria, BC

• 1986 Ballet BC, Vancouver

• 2012 Citie Ballet, Edmonton

concerns were not unfounded. Dance historians have written about Franca’s attempt to poach some of Winnipeg’s principal dancers, including Arnold Spohr. Fortunately for Winnipeg, he declined.

Johnny W. Chang and Evelyn Hart in Sleeping Beauty.

Karen Kain, National Ballet of Canada in Swan Lake.

When Franca’s nationwide audition tour was complete the newly formed company had 29 dancers including Brian Macdonald, Earl Kraul, and Grant Strate. These men would become instrumental in shaping the future of dance in Canada.

top: Aleksandar Antonijevic middle: David Cooper right: Andrew Oxenham bottom: Anthony Crickmay

The National Ballet’s first performance took place in Toronto in November 1951, and has since been hailed as one of the world’s premier ballet companies. It maintains the largest repertoire of classical works in Canada: Swan Lake, Sleeping Beauty, Romeo and Juliet and Giselle among them while continuing to promote Canadian choreographic talents in the contemporary genre. Over the years, the National Ballet of Canada has produced many of Canada’s acclaimed ballet stars including Veronica Tennant, James Kudelka, Chan Hon Goh, and John Alleyne. It was the auspicious pairing of Karen Kain and Frank Augustyn and their gold medal win at the International Ballet Competition in Moscow in 1973 that secured the National Ballet of Canada’s place on the world stage.

Frank Augustyn and Karen Kain Bluebird and Princess Florine The Sleeping Beauty, National Ballet.

and soon after Les Grands Ballets Canadiens was born. Undeterred by resistance from Quebec’s powerful clergy—who felt up until the 1960s that dancing was a sinful act and should be banned— Chiriaeff persisted with her mission to develop a dance identity that was distinctly Quebec’s. In the early years Chiriaeff selected character-based choreography to showcase her inexperienced dancers at

Today the company remains Canada’s largest, employing 62 dancers with former

their technical best, but later

prima ballerina, Karen Kain, at its helm.

American choreographer, George

LES GRANDS BALLETS CANADIENS 1957The youngest of Canada’s three major ballet companies is Les Grands Ballets Canadiens. Latvian-born founder, Ludmilla Chiriaeff, immigrated to Canada in 1952 and began to choreograph dance shows for the Canadian Broadcasting Corporation (CBC) in Montreal. Her popular half-hour weekly television show introduced Quebec audiences to indigenous dance styles

she favoured works by RussianBalanchine and Montreal-born choreographer, Fernand Nault. Nault’s 1964 The Nutcracker is still an audience favourite. Since Chiriaeff’s retirement in 1974, Les Grands Ballets Canadiens has continued to inspire national and international audiences with its extensive classical and contemporary repertoire under the direction of Gradimir Pankov. Fall 2014 | just dance! 27

{ His t o r y o f D ance }

Emily Molnar: Moving Ballet Forward In 1986 Ballet BC became Vancouver’s only professional contemporary ballet company, replacing Maria Lewis’ earlier effort, Pacific Ballet Theater.

Amanda Green, RWB

top: David Cooper bottom: Aleksandar Antonijevic

Sonia Rodriguez , The Sleeping Beauty National Ballet of Canada

In its nearly 30-year history, Ballet BC has seen a few artistic directors come and go, with the exception of 17-year veteran, John Alleyne. When Alleyne left in 2009, the Ballet BC’s board of directors were in a difficult position. The company had just filed for bankruptcy protection and needed to decide whether to continue the company or disband it. Once they resolved to forge ahead, the board hired former National Ballet of Canada and Ballet BC dancer Emily Molnar to fill the role of artistic director. Moving ballet forward is the goal of the collaborative team at Ballet BC, says Molnar whose vision includes an expanded touring schedule that will one day include Europe, Asia and South America and a continued focus on public outreach and education. “We are trying to encourage our audiences to understand not where ballet has been, but where it is going.” Molnar says the creation-based Ballet BC invites choreographers from all over the world, including Canada, to come to Vancouver and create contemporary works that are original, challenging, and dynamic.

April 9 - 12th MAPLE RIDGE, BC THE ACT THEATRE April 25 - 26th BURNABY, BC MICHAEL J. FOX THEATRE

WHY CHOOSE US? At Star Talent we really focus on building dancers rather than tearing them down; all dancers receive medals. We offer a lot of prizes and fun with photogenic awards, skills competitions, Elima-Dance and much more - there is never a dull moment. We also focus on keeping the kids in school as best we can. We run competitions on weekends as much as possible. If we do run on the weekdays ,we try to have high school aged dancers compete outside of school hours—we know missing school is most detrimental to them. We are a Canadian based Dance Competition giving dancers the chance to compete against other dancers and studios, as well as themselves in order to achieve their own personal best! Sportsmanlike behaviour is expected at all times.

Information & Registration startalentdancecompetitions.com Contact dancewtme2@gmail.com 28 just dance! | Fall 2014

photo: Bruce Monk

AUDITION for 2015 Summer Session!

AUDITIONS pour la session d’été 2015!

For 2014/15 International Audition Tour details visit rwb.org.*

Pour des renseignements concernant la tournée internationale d’auditions 2014-2015, visitez le rwb.org.*

Ballet Academic Program

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Aspirant Program

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Programme de formation des professeurs ÉTUDES SUPÉRIEURES

* Students who participate in the 2014/15 International Audition Tour are auditioning to gain acceptance into the Professional Division Summer Session (July 2015), which serves as the second stage of a two-part audition process for acceptance into Regular Session (September 2015).

*Les étudiants qui participent à la tournée internationale des auditions 20142015 auditionnent pour être admis à la session d’été (juillet 2015) de la Division professionnelle. Il s’agit de la deuxième étape d’un processus d’audition à deux volets menant à l’admission à la session régulière (septembre 2015).

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Fall 2014 | just dance! 29

Kyla (left) on stage during Joffrey Ballet Trainee Spring Performance at Florence Gould Hall.

My Year at the Joffrey Ballet School

by Kyla Couper

eciding to move away from home at 15 years old was very scary, but training at the Joffrey Ballet School this past year was an amazing experience.

I started dancing at the age of four at Surrey Dance Centre, near my hometown of North Delta, BC. During my time there, I studied ballet, pointe, jazz, lyrical, tap, musical theater, hip-hop, acro, and modern. I continued dancing at Surrey Dance Centre until I was 15. The training I have received has made me a very versatile dancer. I hope the training I am now receiving at the Joffrey Ballet School will help me reach my goal of joining a professional dance company. Although choosing to attend the Joffrey Ballet School fulltime was very difficult, I am very happy that I decided to go. I started dancing at the Joffrey Ballet School last summer for for five weeks. I did one week of training and then the four week performance track ballet intensive. We took technique classes each morning. After lunch we spent our time learning a pointe dance and a contemporary dance for the summer performance. I loved the summer intensive. It was one of the factors that helped me make my decision to stay at the Joffrey Ballet School for the year-round program. The Schedule The Ballet Trainee Program at the Joffrey Ballet School is very demanding. We danced Monday to Friday, 8:30 a.m. to 4:30 p.m. If we were rehearsing for a show our days sometimes were longer and we would have rehearsals on the weekend, too.

A typical week consists of five ballet technique classes, three pointe/variation classes, one ballet repertory class, one pas de deux class, two modern/contemporary classes, one jazz class, one character class, and two kinetics classes. We also took theory subjects which included nutrition, anatomy, dance history, and music. And each week we were given the opportunity to have a mentor meeting with our main ballet teacher.

Kyla at The Joffrey Ballet School. 30 just dance! | Fall 2014

We had assessments and report cards throughout the year to review our progress and abilities. These assessments also determined if we received merit scholarships.

Paula Couper , top Anna Kuzmina

Most classes have 20 to 30 students. This past year, because there were so many students, year one students were split into two classes. My class included high school aged kids, the other year one group was made up of older students.

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DANCE Changes Everything!

The PERFORMANCES I performed in two major performances. We did the The Nutcracker at Christmas, and a yearend spring show. We also did three studio performances, one of which was a student choreography show. I choreographed a group piece for myself and four others. It was great to experience what it would be like to be a choreographer. I got to choose my genre, music, dancers and costumes. I chose to choreograph a contemporary ballet pointe piece and I loved being able to express my emotions through choreography. Learning how to teach other students was great too, and I realized how much I love choreographing. The APARTMENT Living in New York City was a great experience, but living in a small apartment with six roommates and one bathroom is another story! My roommate was from Houston, Texas. The other girls in my apartment were from North Carolina, South Carolina, Italy, New York, and Hong Kong. We were a very diverse group which was fantastic, but it also was hard to live with six other girls from different backgrounds. We grew close though,

build conﬁdence independence happiness healthy mind and body create lifelong friendships and memories

We Have A Class For That! www.onthepulse.ca 121-1533 Broadway Street Port Coquitlam, B.C. 604.474.3466 info@onthepulse.ca 32 just dance! | Fall 2014

Kyla with main ballet teacher Marina Bogdanova at Joffrey.

Kyla in ballet class at Joffrey.

and by the end of the year we felt like a small family, which made it easier to deal with the fact that I was living away from my real family. Our apartment was located in the part of Manhattan known as Greenwich Village. It is a five minute walk from the school. The grocery stores and laundry facilities are located right around the corner. Washington Square Park and New York University are also about five minutes away, so there were always a lot of students out and about.

Paula Couper

The Studying A difficult aspect of the year was high school. I had to take seven grade 11 courses online. After dance I would return to my apartment and work on school for three to four hours every day. It was challenging to do school work after a full day at dance, but the experience was worth it. Online high school takes special dedication when you have a full-time dance schedule, but I really enjoyed being my own teacher this past year. I am so glad that online school is an option, allowing me to pursue my dance studies away from home.

dance-free weekends to accomplish more work and spend time relaxing.

friends at home, I know it will be worth it for my future.

The weekends were also great to keep in touch with friends and family at home. Thank goodness for technologyâ&#x20AC;&#x201D;Skype and FaceTime were awesome for keeping up to date with events that I was missing.

My family, friends and past teachers (both dance and high school) have been so supportive and I could never have made it through this past year without them. The year was an experience of a life-time. The Joffrey Ballet School employs world-renowned dance teachers who are all pretty amazing. Training at the Joffrey Ballet School has expanded my dance knowledge and advanced my ballet technique. I am looking forward to continuing my dance studies at the Joffrey Ballet School again next year. Â

The FUTURE I have decided to return to the Joffrey Ballet School for another year because my experience this past year was amazing. Even though this decision means that I will miss grade 12 grad events and making memories with my

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In addition to doing school work during the week, I would also take advantage of Fall 2014 | just dance! 33

{ B a l ance }

Healthy Body Image: What it is, why it's important by Carol Kinnee

ompetitive dance demands tip top conditioning, dedication, perseverance and one more thing— a healthy body image.

What is body image and why does it matter? Body image is how you think and feel about your body. It’s the vision you have in your mind’s eye. When that image doesn’t match the reality, problems may develop. Body image defines self-esteem and influences healthy lifestyle choices. Today’s media feeds us constant images of their idea of beauty: slim, tanned, people with flawless skin and blindingly white teeth. The problem is, many of the images have been photo-shopped and therefore these people do not reflect reality. If you lack a healthy body image, that constant bombardment of unrealistic bodies, coupled with high-level competition, can leave you wallowing in 34 just dance! | Fall 2014

self-criticism. “I’m slow. I’m fat. I’m not as good as she is…” when those messages enter your thoughts, it’s sometimes hard to see the positive. According to Abbotsford Regional Hospital Psychiatrist, Dr. Abid Khattak, dance is a sport that values low body weight. The role models of dancers are often very thin. Dance students with unattainable role models may forget “they have their own individuality…they have their own bodies… They cross the line between what is healthy and what is unhealthy.” When this leads to obsession, unhealthy body image develops.

definition making everything look flat and blocky. The camera’s angles and lighting may not tell the whole story. You are what you eat Eat a balanced diet. Munch on lean protein, fruits, vegetables, and complex carbohydrates. Avoid processed foods, white flour and sugar. Diet effects mood, energy, and overall health. Regular meals keep blood sugars level, and maintain vitality, while also warding off irritability and fatigue. Eat breakfast. Eat healthy. Don’t starve yourself. Body Talk

How to maintain a healthy body image

Stay in tune with how you’re feeling.

Be kind to yourself

over train when injured. You know you

Don’t surround yourself with negativity. Seek advice from people you respect, and consider where that advice is coming from. One long-term dancer, Kim, advises, “Don’t borrow a diet plan from someone struggling with eating disorders, or workout clothes from your size two friend, if you’re a size eight. Be realistic.”

better than anyone else does. A mild

Genetics

only. Soreness that begins within hours

You are still growing. When competitive dancers start their careers, their peers are close in age and size. With puberty, genetics kick in. Nature’s plan for you may not be a size four body. You won’t be Natalie Portman skinny, if you are preprogrammed to have a J-Lo booty. Appreciate yourself in the present, and “shake what your mama gave you.” Picture this Dancers work under the harsh lens of the camera’s eye. Don’t be o erly critical when you see yourself on video. Although tempted to ask, “Do I really look like that?” remember, poor lighting and flash photography flatten your features, killing shadows. Without shadows, angles lose

Listen to what your body is saying. Don’t

“burn” in your muscles at the end of a workout, is what some physicians call “good pain,” as in “no pain, no gain.” The sports medicine patient guide from John Hopkins Hospital’s Department of Orthopedic Surgery says the burn should be short-lived and during the activity and peaks within two days of exercising, reflects muscle damage. Goal Setting Dr. Khattak believes maintaining a healthy body image means setting goals. First, set your arget. What do you want to achieve? Ask yourself, “Is it a healthy or an unhealthy goal? Is it realistic?” Goals change as you work towards them. Ensure you have both short- and longterm goals and that they are attainable. Maintaining a balanced lifestyle means taking care of the physical, mental and emotional you. Staying connected with you will provide you with the poise and energy you need to dance on.

Skinny is not Healthy Intense training and a disciplined diet can give you a competitive edge, but overdoing these things can lead to the perfect storm for something called “female athlete triad.” This trio of risk factors consists of eating disorders (restricting food intake to maintain a slimmer appearance), irregular menstruation (inadequate nutrition and excessive exercise cause missed or irregular periods) and poor bone health (diet and irregular menstruation lead to lower than normal bone mass formation increasing the risk of fractures). Treatment of female athlete triad involves a team of physicians, nutritionists and psychologists, and the support of family, teammates, friends and coaches.

Visit our website for direct links to listings’ websites: justdancemagazine.com ACADEMIES, SCHOOLS & STUDIOS Abbotsford Dance Center abbotsforddancecenter.com info@abbotsforddancecenter.com 604 855 7861 Abbotsford, BC Armstrong Dance armstrongdance.ca info@armstrongdance.ca 250 546 0308 Armstrong, BC Artistic Edge artisticedgedanceacademy.com lovetodance@shaw.ca 604 809 0138 Surrey, BC Arts Umbrella artsumbrella.com info@artsumbrella.com 604 681 5268 x0 Vancouver, BC AUUC School of Dance auucvancouver.ca danceschool@auucvancouver.ca 604 254 3436 Vancouver, BC Ballet Bloch Canada balletbloch.com info@balletbloch.com North Vancouver, BC Boswell Dance Academy boswelldance.com info@boswelldance. com 604 522 4424 New Westminster, BC Canada’s National Ballet School nbs-enb.ca Toll Free: 800 387 0785 Toronto: 416 964 3780 DanceFX dancefxschool.ca tcrm-@hotmail.com 778 232 0868 Maple Ridge, BC The danceLAB dancelab.ca info@dancelab.ca 604 525 5289 Coquitlam, BC DanzMode Productions danzmodeproductions.com info@danzmodeproductions.com 604 294 4677 Burnaby, BC Defy Gravity Dance Company defygravitydance.ca office@defygravitydance.ca 604 272 0808 Richmond, BC

Douglas Ballet Academy douglasballet.com dba2@telus.net 604 420 0204 Burnaby, BC

The Spiral Dance Co. spiraldance.ca info@spiraldance.ca 604 541 2800 White Rock, BC

danceCraft dancecraft.ca dancecraft@shaw.ca 604 590 1733 Surrey, BC

Driftwood Dance Academy driftwooddance.com info@driftwooddance.com 604 770 4650 North Vancouver, BC

Tri-City Dance Centre tricitydance.com info@tricitydance.com 604 523 6868 Coquitlam, BC

Dream Duffel dreamduffel.com info@dreamduffel.com 877 378 1260

Encore Dance Academy encoredanceacademy.ca office@encoredanceacademy.ca 604 468 7400 Port Coquitlam, BC

Urban Dance Co. urbandanceco.com info@urbandanceco.com 604 277 4494 Richmond, BC

Fusion Force Studio fusionforcestudio.com fusionf@telus.net 604 533 1863 Langley, BC GForce Gym vancouverallstarcheer.com gforcegym@gmail.com 604 945 9952 Port Coquitlam, BC

foreverdancewear.com info@foreverdancewear.com 604 770 0703 North Vancouver, BC

COMPETITIONs, Conventions & Workshops

Jazz Ma Tazz jazz-ma-tazz.com jazzma@telus.net Abbotsford: 604 855 9166 Maple Ridge: 604 466 0861

Fresh Dance Intensive

freshdanceintensive.com david@freshdanceintensive.com

K&S Dance kandsdance.com kandsdance@telus.net 604 944 6826 Port Coquitlam, BC

The Hollywood Summer Tour thehollywoodsummertour.com info@ thehollywoodsummertour.com 1 818 574 8365 Los Angeles, CA

OneDance Creative Art Centre onedance.ca onedance@shaw.ca 604 987 8747 North Vancouver, BC Place des Arts placedesarts.ca info@placedesarts.ca 604 664 1636 Coquitlam, BC PULSE dance centre onthepulse.ca 604 474 3466 info@onthepulse.ca Port Coquitlam, BC Royal City Youth Ballet royalcityyouthballet.org rcyb@telus.net 604 521 7290 New Westminster, BC Royal Winnipeg Ballet School rwb.org school@rwb.org 204 957 3467

Forever Dancewear

Victoria Academy of Ballet victoriaacademyofballet.ca 250 590 6752 Victoria, BC

Invitation to Dance invitationtodance.ca dancewithus@ invitationtodance.ca 403 278 4849 Calgary, AB

Marr Mac Dance & Theater Arts marrmac.com 1968@marrmac.com 780 434 9281 Edmonton, AB

En Pointe Enterprises en-pointe.com info@en-pointe.com 1 866 491 9019

The Dance Project thedanceproject.ca info@thedanceproject.ca 416 723 7533 Ontario

Professional companies Ballet BC balletbc.com 604 732 5003 Vancouver, BC Ballet Victoria balletvictoria.ca info@balletvictoria.ca 250 380 6063 Victoria, BC Services

iDance / SDF Productions idanceconvention.com sdfproductions@shaw.ca

Laura Zeke Photography laurazeke.com info@laurazeke.com 604 908 5861

Impact Dance Workshops impactdanceproductions.com impactdanceproductions@ gmail.com 604 644 3720

Dancin’ at Sea dancinatsea.com mailbox@caladesitravel.com 800 742 5053

Synergy Dance Competition Event World Management synergydance.ca VIEW Dance Challenge viewdancechallenge.com info@viewdancechallenge.com 1 855 405 VIEW 1 416 405 8439 5678 Showtime 5678showtime.com info@5678showtime.com 604 945 7469 Performing arts retailers and SUPPLIERS Avalon Dance Shop of Canada avalondance.ca info@avalondance.ca 604 874 2461 Vancouver, BC

Gemini Visuals geminivisuals.com info@geminivisuals.com 604 312 6330 Surrey, BC Revival Arts revivalartsstudio.com db@rastudio.ca 604 864 6339 877 310 3500 Stagestep stagestep.com stagestep@stagestep.com 800 523 0960 Philadelphia, PA TheaterS Evergreen Cultural Centre evergreenculturalcentre.ca info@ evergreenculturalcentre.ca 604 927 6550 Coquitlam, BC Fall 2014 | just dance! 35