just dance! | Spring 2015 | Issue III

Learn about the West Coast Tap Dance Collective p. 39

Spring 2015 | Vol. 3 | Issue III

Strength Conditioning why it’s important for dancers Set Sail +

Spring Break:

Camps, Workshops & Intensives in Your Area P. 32

Dance on a Cruise Ship

On the Cover & In the Spotlight

Jaydee-Lynn McDougall Ballet Kelowna’s

New Beginnings

with Simone Orlando at the Helm

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INThISISSUE

Features: Cruise Ships: An Opportunity to Dance Your Way Around the World............................................................ 11

by Heidi Turner From the Trenches to the Triumphs, Ballet Kelowna Dances On................................................................ 24

by Jacqueline Steuart Spring break or take a break?.......................................................... 32

by Jacqueline Steuart Celebrating Tap with the West Coast Tap Dance Collective............................................................. 39

by Racquel Foran

Knowledge Base: The Anatomy of a Floor..................................................................... 30

by Randy Swartz Balance: The Benefits of Strength Training During Competition Season.................................................................... 40

by Monika Volkmar

in every issue: Publisher's Letter...................................................................................... 4

Main photo, The School of Alberta Ballet. Credit: Paul McGrath

In the spotlight: Jaydee-Lynn McDougall........................................... 6

by Racquel Foran Suzanne Sits down with Nicole Ciapponi...................................... 16 History of Dance: Jazz!....................................................................... 20

by Heidi Turner just dance! Wants to Know...What Are Your Competition Goals This Season?............................................................ 23 just dance! Directory............................................................................ 42

Cover: Jaydee-Lynn McDougall at The Pulse on Tour in Portland, Oregon.

movies pGs 15 + 16 favouRite dance ReadeRs shaRe theiR

Summer 2014 | Vol.

2 | Issue IV

Making a ical Mus With Pulse Dance centre Canadian men Can Jeff Hyslop: danCe! pg 12 Canadian Icon Cody Green: The Fast-Rising Star pg 25 ZaC Vran: His Future is Now pg 8

Fast-Rising Star pg 25 ZaC Vran: His Future is Now pg 8

hy t w be ou FInd eed to at n re u h o t y Iple a tr

Two-TIme woRld Tap CHampIoN

la laCey Cebu Spotlight Is In the

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FromThePublisher

W

hen choosing the editorial content for each issue of just dance! I sometimes try and find a theme, but other times the theme finds me. This is what happened with the Spring 2015 issue of just dance!. Without planning, I started to see a subtle theme take shape in the issue – strength.

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The theme starts with the very Canadian story of our Spotlight dancer Jaydee-Lynn McDougall who credits her years of playing highly competitive hockey for giving her the much-needed strength and endurance she has to excel in dance.

Strength of a different kind is discussed in our feature article about dancing on cruise ships.

That is the strength and courage to repetitively audition knowing that NOT getting the part is a very real possibility – it takes an emotionally strong person to do this over and over in pursuit of success.

In this issue Suzanne sits down with Nicole Ciapponi. Nicole is a talented dancer from BC who has danced with both the PNB professional division as well as the San Francisco Ballet. She too is learning the importance of strength, both physical and emotional, for a dancer. She is facing probably the toughest challenge of her dancing career, rehabilitating from a serious injury.

Jacqueline Steuart interviewed both the past and present Artistic Directors of Ballet Kelowna and in this story we learn about the strength of a community. Ballet Kelowna almost folded in 2012, but after a fierce outcry from Kelowna residents and the arts community, the company survived. Now with Simone Orlando playing the duo roles of Artistic Director and CEO the company is strong and the future looks exciting.

Easy access from both North Shore bridges!

To wrap this all up, Monika Volkmar from The Dance Training Project provides us with real insight as to how dancers can benefit from strength training. She definitely makes a sound argument for including strength conditioning as part of your dance training regime.

I hope that all our readers find a little bit of extra strength after reading this issue.

K

WEE A S Y 7 DA N E OP

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In closing, I am thrilled to be making a BIG announcement. This June, just dance! magazine will be hosting Western Canada’s 1st danceXpo. Taking place in Greater Vancouver’s newest boutique conference facility, The Anvil Centre in New Westminster, danceXpo will have 50 exhibitor booths, free demos, exclusive dance workshops, and more! Watch our Facebook page for announcements, and visit dancexpo.ca for more information. We look forward to seeing the entire dance community June 13 and 14, 2015!

As always thank you to all our advertisers and readers for your continuing support. And good luck to all the dancers this competition season.

Remember, just dance! is more than a magazine, it’s an attitude!

— Racquel

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 Contributors Suzanne Ouellette Jacqueline Steuart Heidi Turner Monika Volkmar

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by Racquel Foran

6 just dance! | Spring 2015

I s

I n

T h e

S p o t l i g h t

Jaydee-Lynn McDougall

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

O

n a dreary winter day, I spent the afternoon watching videos of a young athlete.

First I watched her power down the ice and slam up against a player on the opposing hockey team. She showed excellent skating form, looking more stable on her blades than some NHL players. Next I watched her use that same power and energy in a hip hop routine. Then I watched her gracefully make her way across a stage. So seamlessly transitioning to lyrical dance that the hockey player and hip hop dancer were instantly forgotten. Back and forth I went, trying to reconcile the hockey player with the dancer. A dancer that plays hockey? Even in Canada this must be unusual, I thought. So I felt compelled to find out more about the young woman who was equally comfortable on ice as sprung floors.

Opening photo: Cynthia Bettencourt Photography

Once you learn a little bit about 18-yearold Jaydee-Lynn McDougall, it is easy to understand how and why she started playing hockey; she grew up in Winnipeg and she has two older brothers that both played. “As for hockey, I don’t think it was a matter of choice.” Jaydee-Lynn said. “At the age of three, my brothers who were seven and ten and playing competitive hockey at the time, would get me all decked out in goalie gear so that they could fire pucks at me.”

That might have been enough to discourage some little girls, but not JaydeeLynn, “I think it got me excited about hockey because when the time came for me to start in a regular hockey program, I was ready to go. I remember my brothers teaching me how to put on my hockey equipment prior to my actual first practice. I was so excited to be in hockey equipment.

I felt like I was one of the boys.”

She played like one of the boys too, strapping on skates for a boys’ team from the beginning. By the age of 11, she was competing at the highest level of boy’s hockey, pointing out that “it involved hitting.” Competing at this level kept her busy. She was practicing five or six times a week on ice, in addition to dry-land training once or twice a week.

You would think that would have been enough to keep a pre-teen busy, but

{ in t h e s p o t l i g h t } again, not Jaydee-Lynn. She started dance at the same age as she did hockey, five.

“My mom put me in dance because she wanted me to have confidence and develop creative movement skills. It wasn’t meant to be a serious activity by all means.

My mom… wanted to make sure I was well rounded...”

Although it wasn’t meant to be a “serious activity,” somewhere along the way it became one. Soon Jaydee-Lynn was spending as many hours every week dancing, if not more, as she was playing hockey. This meant an additional 12 to 20 hours a week training at the dance studio.

It wasn’t always easy to manage her schedule, “Typically I would have about six conflicts a month,” Jaydee-Lynn said.

“I would look at my schedule and make a decision as to which practice or dance classes I would go to.” She couldn’t have continued with both activities if not for the help of her coaches and her teachers she says. “[They] were all very understanding in helping me balance my schedule. My dance studio would allow me to pop into other classes for training if I had to miss my regular class.”

Jaydee-Lynn didn’t mind the busy schedule though, because she loved hockey and dance. For 12 years she pursued both with equal passion, achieving success at a high level in both, as well. At the age of 13, she moved to girls’ hockey and two years later joined the first St. Mary’s Academy Elite Girls Prep Team. When asked what she loved about hockey she first said “the comradery.”

Adding, “… and the competitive aspect of hockey. I loved that we were all working towards the same goal. I loved being ‘one of the boys’. …Being on a boys hockey team made me strong. At one point the boys I played against were 120-140 pounds and I was barely 100 pounds soaking wet. I played defence and I loved stopping those big guys coming down at me.” (Proving she really wasn't aware how small she was, her hockey card from the time indicates Jaydee-Lynn was actually only 85 pounds.)

Jaydee- Lynn when she was in grade 11, but she passed on the opportunity because she had already made the decision to pursue a dance career.

“Choosing dance over hockey was one of the hardest decisions I have ever had to make,” Jaydee-Lynn said.

“Eventually I realized that my passion was much stronger for dance. It wasn't an overnight decision. I had been thinking about it for months. I remember having

Jaydee-Lynn performing her 1st place Jazz Solo at CNDC 2014.

Jaydee-Lynn in goalie gear, ready to play with her older brothers.

Jaydee-Lynn playing hockey for the St. Mary's Prep team.

As she got older though, Jaydee-Lynn knew she was going to have to choose between her passions. She was playing hockey at a very high level and scouts often attended games. Scholarship opportunities for top US universities were offered to girls playing at this level.

Brown University expressed interest in Spring 2015 | just dance! 7

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

Jaydee-Lynn (with partner Nic Simard) performing their hip hop duo at CNDC 2014.

They placed 1st overall in the senior category and were awarded the Adjudicators Choice Award.

Jaydee-Lynn performing her lyrical solo in the preliminary rounds at The Pulse on Tour in Chicago, November 2014.

“

a conversation with my mom when I was 12 years old about the fact that one day I would have to choose between my two passions. I asked her how I could ever choose when I loved them equally. … She said that one day I will realize my passion for one over the other. One day, she said, I would not be happy about missing dance, or hockey … and that day came midway through grade 10. Things changed and I found myself being disappointed when I had to miss a dance class for hockey…. The part that was the hardest about quitting hockey was telling my dad.

I didn’t want to disappoint him. …My dad wanted me to play College hockey, but he knew that I needed to follow my dreams.”

Jaydee-Lynn’s mom confirmed that it was a tough choice. “Choosing between a full tuition college hockey

scholarship opportunity, and focusing on her dance training was a very tough decision for Jaydee-Lynn, but one that had to be made. In the end it really wasn’t a choice at all, her passion for dance outweighed anything else in her life. …

She loved hockey and all the amazing friendships…but nothing made her feel the same as when she was dancing. Dance is when she truly comes alive. Dancing is her true love and in the end she owed it to herself to follow her dreams.”

As soon as the decision was made, it was full-steam ahead for Jaydee-Lynn. “I made the decision to devote completely to dance so that I could get to the next level. I needed to put all my time and energy into dance. I was determined. In addition to dance, I took acting classes and voice lessons so that I would have more opportunities.”

Her dedication appears to be paying off, too. She was the 2014 Dancer of the Year at 5678 Showtime’s Winnipeg competition, and the Overall Senior Definite Threat at the Triple Threat Dance Convention. And she was overall winner in seven different categories at the Canadian National Dance Competition.

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Jaydee-Lynn performing her contemporary solo in the Showcase finals at The PULSE on Tour in Las Vegas, NV December 2014.

But the thing she is most proud of is earning a Protégé award at The PULSE on Tour in Boston in 2014.

Approximately 1200 dancers attended the Boston event. All dancers wear a scholarship number throughout the weekend. During each class the faculty keeps a notebook where they write their selections for scholarships. At the end of the weekend those votes are tallied and the scholarships are awarded accordingly. Selected Protégés get to train with the Tour’s choreographers in every regional city for free for a full calendar year. PULSE registration director Kristen Plant said Jaydee-Lynn was selected because “she is a wonderful contemporary artist, but she also excels at Hip Hop and Jazz. The fact that she’s well rounded and continues to perfect her artistry is something that definitely caught the Faculty’s eye.”

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Jaydee-Lynn in her first year of ballet, age 6.

Jaydee-Lynn is headed for the big screen, too. Brian Friedman, creative director of The PULSE on Tour, and judge and choreographer on So You Think You Can Dance was conducting auditions in her home town. She was recommended by one of Brian’s assistants but missed the initial audition. She forwarded a YouTube video of herself to Friedman instead.

After seeing it, he set up an audition to see Jaydee-Lynn dance in person. The audition went well and she was cast in the film as part of the all-girls dance crew. The movie, Bravetown, stars Laura Dern and Josh Duhamel. Its release date has not been set yet, but being cast in the movie is one of Jaydee-Lynn’s best memories to date. “To be noticed by a famous choreographer like Friedman was exciting and one of my best dance memories. It was truly an honour to work with Brian Friedman.”

When asked how she thinks all her years of playing hockey helped her dance she said that she thinks it made her stronger and “gave her tons of endurance,” things she considers personal strengths as a dancer.

She also believes dance and hockey complement each other because as she explains, “both involve confidence and a good head space, knowing exactly where to move to, and when.”

artsumbrella.com/dance 10 just dance! | Spring 2015

Jaydee-Lynn spent part of fall 2014 training in Los Angeles at the Edge Performing Arts Center, Movement Lifestyle, and Millennium Dance Complex. She is also working on obtaining everything she needs to get her O1 Visa to work in the United States; with a top LA talent agency already having agreed to sign her.

In the meantime she is enrolled in the Faculty of Education at the University of Winnipeg with a major in Kinesiology and a minor in Theatre and Film. Her plan is to obtain a teaching degree while at the same time pursuing her dance career.

And her schedule is as busy as ever. She has university classes every week day, dances at Kickit Dance Studio 10 hours a week, and works three days a week.

She also plans to take advantage of her PULSE Protégé status; she joined the Tour in Chicago in November, Las Vegas in December, Portland in January and Boston in February, and she will be in Atlanta in March. She will also attend the Pulse Summer Intensive in Las Vegas, and competing in New York in July 2015 for the Elite Protege Award.

Her motivation to do all this comes from within, she says, “My motivation is my own personal drive and determination to be the best I can be.” She went on to explain, “I am motivated to be better. I don’t settle.

I want to be creative in my art of dance.

Dance is an art form that is a part of my personality. The part that is motivating to me is finding a way to express myself at different levels of difficulty and intensity and to strive to better myself.”

Jaydee-Lynn is focussed and determined.

She has a clear vision of the path she is going to take and where it is going to lead. “I see myself continuing to train with famous choreographers with The PULSE on Tour. One of my goals is to be awarded the elite Protégé award at the finals in New York City this summer, so that I can work side by side with the choreographers that have been inspiring me to reach for my goals. I hope to be working in the commercial dance industry in the areas of film, music videos, and even performing one day as a back- up dancer with a famous artist like Beyoncé.

Ten years from now, I can see myself continuing in the dance industry, as well as sharing my enthusiasm and love of dance with young children. My goal is to inspire and empower young dancers so that they may develop their skills with increased confidence in a challenging and creative atmosphere.”

If determination, focus, strength, endurance, hard work, and of course talent, are the ingredients in the recipe to success, then Jaydee-Lynn has everything she needs to cook up an outstanding career.

Robin Smith, Dancin' at Sea

by Heidi Turner

Cruise Ships:

an opportunity to dance your way around the world any young dancers dream of performing on Broadway, while others dream of working as a backup dancer on an international tour.

Dancing on a cruise ship can be

M

while seeing the world. The best part is they

onboard Enchantment of the Seas in

get to make money at the same time.

the Bahamas. Her second contract,

Brittany Bosch is a 20-year-old dancer from BC who recently finished her first

beginning in January 2015, will see her on Mariner of the Seas touring Asia.

the perfect way to combine professional

contract with Royal Caribbean. During

It took Brittany, who has been dancing

performance experience with travel,

that contract, Brittany spent five weeks

since she was two years old, two years to

giving dancers an opportunity to grow

rehearsing in Florida, then six months

get hired by a cruise line.

Spring 2015 | just dance! 11

Dancin' At Sea For younger dancers who would like to try dancing on a cruise ship, Dancin’ at Sea provides an opportunity to perform on stage while also taking a family vacation. Robin Smith, owner and managing director of Dancin’ at Sea, says the company is a cruise program for elite and innovative dance studios, offering a family vacation with a focus on public performance for the dancers.

Schools that are interested can contact Robin and book a performance cruise (these packages are only available for dance groups, not for single dancers). Most cruises are between five and seven nights and include an orientation, welcome aboard celebration, a workshop with the professionals, a master class with a dancer and at least one performance during the cruise. Dancin’ at Sea offers guidelines on what types of dance to include in the show and the length, but choreography is up to the studio director. Robin says many of her clients choose to take a year and prepare for the cruise rather than doing competitions.

“This experience brings the dancers memories that last forever,” Robin says. “When they sit in a rocking chair, they’ll remember being on the cruise. They’ll be dancing for a full house—1,000 people—who are there just to see them. It’s an experience.”

“After graduating, I wanted to dance on cruise ships,” Brittany says. “I auditioned for every cruise line that held auditions in Vancouver. You show up and there can be anywhere from 70 to 200 people— although I’ve heard of auditions where there were more than 400. You do a dance combo, they cut some of the dancers, then they teach another combo, and keep cutting. By the end, there might be between two and seven dancers left. Those usually go on the hiring list and they’re allowed to apply for the dancing jobs. When the cruise line needs to choose dancers, they go to that list.”

Despite making the hiring list at every audition she attended, it wasn’t until February 2014 that Brittany was contacted

by Royal Caribbean for a contract. At the end of April, Brittany left her home in BC to travel to Florida for rehearsals. Once rehearsals were finished, it was onboard the ship for a tour of the Bahamas.

Performing on a cruise ship is a great way to gain professional experience. Although it might not have the prestige of dancing on Broadway, or for a national ballet company, it can be a lucrative job with plenty of benefits.

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See where experience takes you.

12 just dance! | Spring 2015

Dance – Performance

“Some dancers get on with a cruise line and they’re there for years, because they love the life,” Robin Smith, of Dancin’ at Sea, says. “It is a bit of a utopia, because you don’t have to worry about the dayto-day needs, like your car expenses, or your apartment expenses.”

Brittany Bosch.

“It was never so bumpy that we stopped a show, but if the ship rocks too much—and they’ll measure to find out—they’ll tell us not to wear our heels on the stage, or not do a certain lif t." vary depending on the cruise line and the show being produced, all dancers must be talented at dance, typically jazz dance. They must also be at least 18 years old.

Kevin Miller, studio specialist in show productions for Princess Cruises, says that strong technique is a given for

cruise ship dancers, but they also look for people who are skilled at performing and experienced in dancing around sets. Different ships even within the same cruise line might have very different shows, incorporating genres such as jazz,

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Brittany in character on the ship stage.

guidelines about how much a ship can rock before a show is cancelled, dancers are still required to perform during ship movement, which poses challenges.

“It was never so bumpy that we stopped a show, but if the ship rocks too much— and they’ll measure to find out—they’ll tell us not to wear our heels on the stage, or not do a certain lift,” Brittany says.

“We’re looking for someone who not only does the steps, but expresses the movement,” Kevin says. “That’s huge for us. You can be a flawless dancer, but boring to watch. We need to see the feeling and emotion behind the intent of the movements. We also prefer dancers who have experience in stagecraft.

Dancing on a stage with elevators behind you can be overwhelming, so we need dancers who have that experience.”

Dancing on a cruise ship is a great way for dancers to get experience, but some dancers stay with the cruise line and move up through the ranks.

Dancing on a ship might seem natural for dancers, but there is one important difference between dancing on a ship and dancing in a theatre: the ship’s movement. Although cruise lines have

“We have a few dancers who have been with us for years,” Kevin says. “They continue to grow and work with new choreographers. They can move into positions such as performance manager.

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Lily Hinson

Because most daily expenses are covered by the cruise line—dancers are provided with food and accommodations— dancers can save a great deal of money during their contracts. Robin says she knows of dancers who have used their money from cruise dancing to pay for college. At Princess Cruises, starting the starting salary for new cruise dancers is $1,900 USD a month, Kevin says.

The many faces of Brittany Bosch as she performs in two different cruise ship shows.

They share accommodations, but there are more benefits. Once you’re a twoLily Hinson, Ellie Bosch

striped officer, you get an outside single cabin, health benefits, a 401(k), and guest privileges.”

“It can be tough,” She adds. “I auditioned a lot before I was hired, but some dancers are hired after one audition. It can be discouraging and after a while you might want to give up, but don’t. It’s worth the wait. It was the most

For those who want to try for a job

amazing experience.”

dancing on a cruise ship, Brittany says the

Meanwhile, Kevin says dancers going into auditions must be aware that how

most important thing is to not give up.

they present themselves is important. “It’s the business of show and what you’re marketing is yourself. Look the best you can and dress according to what you’re auditioning for. Stand out with your talent and personality. Come in with a positive attitude. If you don’t get a part, don’t take it personally; you just might not be right for the part.”

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SuzanneSitsDownWith

Ballet Zaida Nicole as Aurora in Helgi Tomassons "The Sleeping Beauty"

Suzanne sits down with...

Nicole

very once in a while an incredible talent comes into the dance world.

In my opinion one of these is Greater Vancouver local dancer Nicole Ciapponi. I watched this amazing dancer and lovely young person grow into a true dance artist as she performed at numerous dance competitions, Vancouver Ballet Society master classes, and various other performances around the Greater Vancouver region. My own daughter Siobhan Adams, as a young dancer, was over the moon when she won the same interpretive trophy at Surrey Festival of Dance that Nicole Ciapponi had! Nicole

16 just dance! | Spring 2015

is an idol of a lot of young dancers. Now a member of the San Francisco Ballet’s Corp de Ballet, I am pleased Nicole agreed to share some of her journey with just dance!

Tell us about the beginning of your dance training here in Vancouver.

I first started training at a small studio in Surrey called McBride School of Dance, under the direction of Heather McBride.

I trained mainly in the Royal Academy of Dance syllabus working to complete all of the levels by 14 years old. I also studied other forms of dance such as jazz, modern, and contemporary at this studio.

I was also involved in the Royal City Youth Ballet’s production of the Nutcracker from the ages of 10 to 13 under the direction of Dolores Kirkwood. I trained with Heather McBride until I was 13 years old and then I enrolled into Goh Ballet’s half day program for one year. At Goh Ballet I had many performance opportunities as well as an incredible coach, James Amar.

When did you decide to make ballet your career and is there a person that really influenced you?

I made the decision to become a ballerina at the age of 10 after studying

From left: Erik Tomasson, Oliver Henry Ehdahl (x2)

E

ciapponi

at Goh Ballet on scholarship for one summer. I will never forget when Mr. Goh himself asked me if I wanted to be a dancer. Immediately after that summer course, I went out of my way to work hard and dedicate myself to ballet.

You moved away from home to train at a young age, what were some of the challenges that you had to face?

When I moved away from home to train at The Pacific Northwest Ballet (PNB) in Seattle, I also lived with my mentor, Patricia Barker, who was a former principal with PNB. Making the choice to move away at 14 was harder on my parents than for me. I knew exactly what I wanted when I made the choice to train at PNB and I knew it would ultimately be the best for my career.

My parents have been an incredible support for me and they knew it would be the best way to advance my training in order to get a job in this industry.

Living and training at PNB must have been exciting but was there any pressure for you to succeed any differently than other students there?

I was the youngest Professional Division Student at PNB in the history of the program; so yes, there was always some sort of standard I had to withhold. Also, living with a former principal dancer, made me obtain the position of a prodigy. I learned a lot at the age of 15 when I was there, and having the opportunity to partake in company rehearsals as well as performances gave me a lot of professional experience.

Nicole Ciapponi (x2)

When did San Francisco come calling and was it an easy transition?

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.

While I was a PD student at PNB, I wanted to audition for a summer course somewhere else, so I auditioned for The San Francisco Ballet, American Ballet Theater and School of American Ballet. I got into all three schools but SFB gave me a full scholarship for the summer, so I chose to go there. The SFB summer course was the most intense ballet training I ever received in my life. It was five weeks of pure ballet with no modern or anything else, I loved it. While I was studying there for the summer, they offered me a Traineeship which was fully paid for, as well as a great opportunity for me to get into the company.

You recently injured yourself and aren’t dancing right now. How is the injury?

And what is the prognosis?

Is this your first injury?

This past year I received news that I had a very serious injury. In the joint between my big toe and second toe, I had several fractures, 6 bone chips, an avulsed tendon and the space between those two toes separated 3mm. I needed surgery so they could clean up the bone chips and put a pin into my foot. Hearing this news was the most upsetting news in my whole ballet life so far and my first major injury. After the surgery, I was not allowed to walk for six weeks - no weight on [the foot] at all - and then another month in the boot, and then another two weeks in just running shoes.

After you heal what are your plans as the next step in your career?

This is a very serious injury and seems to be a very slow process. I am currently in Grand Rapids, Michigan with Patricia Barker helping me rehab my foot. I am sure I will be here until May, to assure my foot is 100 percent better. The next step will be to audition for a few companies I have had my eye on. But at the moment I am most concerned about my foot and coming back to full recovery.

{ S u z anne Si t s D own W i t h } Who are some of the people that you have danced with, and what are some of your favourite roles that you have danced?

I was very fortunate to dance with some incredible dancers at The San Francisco Ballet as well as dancing some outstanding ballets. The most memorable person to dance with was Pascal Molat in William Forsythe’s The Vertiginous Thrill of Exactitude. This is the hardest ballet I have ever danced and I performed it at the age of 17, my first year in the company, in their Opening Night Gala. I’ve had the pleasure of dancing Balanchine to neo classical ballets with almost all of the male principals in the company.

Not only has dancing with these men taught me a lot, but so too has dancing alongside the incredible female principals of the company. I performed Symphony in C Third Movement Principal next to Sofiane Sylve (who has been an idol of mine for years). When we all came together for the very technically challenging finale, I danced right beside her. It is always hard as a young dancer to keep up with such seasoned professionals, but also the most rewarding thing to have the opportunity to do so.

I tend to enjoy more of the Balanchine ballets because of their musicality and tricky, quick foot work. I loved dancing Balanchine’s Scotch Girl in Scotch Symphony as well as Divertimento #15, The Jumping Girl. I also enjoy dancing the classics such as Cupid in Don Quixote and also the solo in Pas de Cinq in Giselle both choreographed by Helgi Tomasson. I was very fortunate to have these opportunities and I hope to continue them on my next step in my career.

Nicole as the Lead Spring Fairy in Christopher Wheeldon's "Cinderella."

Nicole in costume as the Scotch girl, in George Balanchine's Scotch Symphony.

Spring 2015 | just dance! 17

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Anvil Centre, New Westminster, BC 777 Columbia Street

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18 just dance! | Spring 2015

{ His t o r y o f D ance }

The History of Dance:

By Heidi Turner

Jazz!

B

ob Fosse. Alvin Ailey. Katherine Dunham. The Charleston.

Breakdancing. Jazz hands. All are associated with jazz dance, a genre of dance with origins in the late 1800s, but a style that is constantly evolving. Jazz dance can be found on Broadway, in movies, and in theatres around the world. It has inspired new dance forms and evolved to incorporate other dance styles and other cultures. Today, jazz dance refers to a broad range of dance styles, each influenced by the culture they are performed in. But as with another form of dance highly associated with America— tap dance—jazz has its foundations in African culture.

Jazz dance has its origins in Africa, in movements characterized by bent knees, and body isolations. This style of movement made its way to the US by Africans brought over on slave ships. As the different African cultures mixed in the US—despite laws against African dance, or drum music being performed—with other cultural styles such as the European jigs, the dance evolved to include elements of the cultures, including foot stamping, hand-clapping, and vocalizations.

Early in the 1900s jazz dance and tap dance were sometimes used to refer to the same style of dance because both were often set to jazz music. As with tap

A lost Jack Cole dance sequence from DOWN TO EARTH (Columbia, 1947)

dance, jazz became part of minstrel shows in the US in the early 19th century.

But, white dancers were the stars of the minstrel shows, forcing African-American dancers to move to Europe to obtain performing experience. Jazz dance got its name when it started being performed to a style of music known as jazz. With its name tied to a popular style of music, jazz dance would also see its evolution tied to other popular styles of music.

It was around the 1920s, with the rise of the Charleston, that jazz dance developed a strong separation from tap dance. In the 1920s, a style of music known as Dixieland jazz emerged. This music had a fast beat and quickly became popular. As the music style grew in popularity, so did the dance to accompany it. Jazz music was unique from other mainstream music in its use of syncopation (where an emphasis is put on a beat that is not normally emphasized) and jazz dance used the same syncopation.

The rise of movies also had an effect on jazz dance. In the 1930s, musicals became a popular movie style. Dancers like Fred Astaire, who got his start on Broadway, popularized jazz dance in the movies, combining ballet and jazz in musical numbers. Meanwhile, jazz music evolved to a more symphonic sound, involving greater orchestration, which became known as the Big Band style of jazz.

Spring 2015 | just dance! 19

20 just dance! | Spring 2015

{ His t o r y o f D ance } Katherine Dunham

Tri-City Dance Centre •

• •

• • • •

Library of Congress Collection

• •

Katherine Dunham also came to the forefront in the 1930s, pushing jazz dance further along by combining Caribbean styles and jazz. Dunham was originally a ballet dancer, but in 1935 she received a grant to study dances of the West Indies.

Her studies took her to Jamaica, Martinique and Haiti. Her company, Ballet Negre, toured around the world from the 1940s to the 1960s, showcasing her style, which combined Afro-Caribbean, modern and ballet influences. Dunham was also notable for founding the first major black modern dance company in the US.

Origins of Jazz Hands Jazz hands—in which the hands are open with palms facing forward at about face level and fingers splayed while the hands are moved side-to-side—may be the easiest dance move because they require no experience or practice to perform. They can be used at any time with no musical accompaniment but are still highly associated with jazz dance. Jazz hands have made their way into popular culture, with many references on tv and in movies, while jazz hands memes (including some involving cats) have gone viral on the Internet.

Not a lot is known about jazz hands or where they came from. Jazz hands are believed to have made their first appearance in 1927 in the movie The Jazz Singer, starring Al Jolson and were popularized in the musical Fosse, the story of Bob Fosse, which premiered on Broadway in 1999.

Complete Royal Academy of Dance (RAD) Ballet Exam Program from Pre-­‐Primary to Solo Seal Association of International Dance Teachers (AIDT) Tap Exam Program Jazz & Lyrical, Contemporary, Hip Hop, Acrobatics and Musical Theatre with Vocal Coaching Recreational & Competitive Program Professional Training Program from age 8 Company Program for ages 14 to 18 Lots of performing & competing opportunities Offering weekly drop-­‐in Technique classes all Summer.

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Tri-City Dance Centre 98 Brigantine Drive Coquitlam, B.C. Phone 604.523.6868 www.tricitydance.com tricitydance@telus.net

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604.874.2461 4750 Main Street Vancouver Spring 2015 | just dance! 21

{ His t o r y o f D ance }

SPRING BREAK DANCE CAMPS

Bob Fosse (front centre)

In the 1940s a man named Jack Cole, sometimes known as the

R ISTE REG LINE ON W! NO

“Father of Theatrical Jazz Dance,” developed a dance technique that combined ethnic dance with modern and ballet. Cole had first studied modern dance in New York City at Denishawn.

After Denishawn disbanded, Cole began training dancers in his

MARCH MARCH 16-20, 24-28, 2015 2014

dancers then found success in Hollywood musicals.

Afternoon Workshop Classes: Ages 12 & Up Jazz/Funk, Contemporary, Hip Hop, Contact Improv.

Special Faculty: Zac Vran, Ashely Sweett, Kelly McInnes, Charlotte Kavanagh 1471 Stayte Rd. White Rock 604-541-2800, www.spiraldance.ca

Jazz dance continued on while being influenced by rock and roll music and Motown. Jazz was still being performed onstage, but people copied what they saw and performed their own nc eC o.

Pre Dance 3-5yrs.: Theme "Enchanted Forest" Mornings 9:00 -11:30 am

technique, which incorporated various styles of ethnic dances. His

a lD Spira

moves on dance floors in clubs, making jazz more accessible to the average person.

Jazz experienced another surge in popularity thanks to the man probably most closely associated with jazz dance, Bob Fosse. Bob Fosse was initially a stage and film performer, but he is best known as a choreographer. His work includes All That Jazz, The Pajama Game, Damn Yankees, Sweet Charity, Cabaret and Chicago. Fosse’s choreographic style often includes dancers snapping their fingers and rolling their hips and shoulders. Dancers are frequently costumed in bowler hats and white gloves, while they strut around the stage.

During his career Fosse won multiple Tony awards, Academy Awards and an Emmy, even though some critics felt his style was too suggestive.

In the 1980s, jazz went through another dramatic evolution with the rise of breakdancing. Breakdancing—a category of dance that covers modern street dance—exploded into mainstream dance culture thanks to performers such as Michael Jackson, Janet Jackson, and Paula Abdul, and also courtesy of the rise of MTV and the music video. This form of jazz was high energy and combined ballet, jazz, and street dance. As hip hop, funk and other musical styles hit the mainstream, jazz dance became more diverse, allowing dancers to create movements to fit the popular music styles.

Jazz dance is often used to describe the popular dance style of the time, whether that style is the Charleston, the Jitterbug, hip hop or breakdancing. Because of its diversity and its versatility, jazz dance is also often used as a means of social using jazz as a way to fight social injustices such as racial segregation.

22 just dance! | Spring 2015

PBS

commentary, with performers such as Katherine Dunham

just dance! wants to know:

What are your competition goals this season?

Tyler S.

Sponsored by:

Age: 18

Andy and Tina's Dance FX Wetaskiwin, AB My competition goals this year are to get higher marks than last season; possibly get an overall high mark for a solo or duet.

info@DreamDuffel.com

Cynthia D.

DreamDuffel.com 877.378.1260 | 763.432.0399

Age: 13

The DanceForce Studio Burnaby, BC My goals for this year's competition season is to try my best and work hard!

Jenna I.

Age: 12

Studio One Dance Center Langley, BC

Age: 8

CDE Dance Academy Pembroke, ON My competition goals are to work really hard on my flow and my basic techniques because those are the little things that make a better dancer. I want to be a ballerina. I also want to learn from others, I love to sit when I'm not dancing and watch other dancers. Seeing what others can do, taking it all in...I love to learn that way also. Competition time is awesome and fun, but these goals will help make me a better dancer.

Respond to Win!

Emma G.

My goal for this season is to be able to do my needle on stage for my solo.

I would really like to get my needle because I have worked on it for so long and it would be a great accomplishment if I achieved it.

For summer 2015 just dance! wants to know...what is your favourite dance memory? 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 April 1, 2015.)

Spring 2015 | just dance! 23

I

n 2002, while associate director of the summer dance program at The Banff Centre, David LaHay was approached by Lori Larson and Melville Brown, directors of the long established Canadian School of Ballet, to create a Kelowna-based performance group for their preprofessional senior students. Mr. LaHay felt that what the region really needed was a professional ballet company, a place where Canadian dancers could launch their careers. “I wanted Canadian dancers and choreographers to have a home where they could hone their craft.”

At times, Mr. LaHay recalls feeling like a one-man show, referring to a long list of duties that ran the gamut from his teaching company class, building costumes, laying floors to even driving the company tour bus, but he is quick to say that he did not manage the company alone. In fact, he credits Canadian School of Ballet’s Larson and Brown for planting the seeds for what would become Ballet Kelowna. It was their pursuit of individual donors, notably Myles and Stephani Bruckal, who became the organization’s first board president, board members, and patrons that enabled the company to grow.

But starting a ballet company demanded so much more than just hiring dancers, teaching company class, and staging a ballet or two. The task required vision, tenacity and the deep down belief that all that effort was ultimately going to be worth it. “I felt driven to do it,” Mr. LaHay says of the challenge. “I just got in the trenches and did it.”

In the fall of 2003, Ballet Kelowna made its professional debut.

In recent years, Ballet Kelowna is grateful to have received project grants from private donors, the City of Kelowna, and the BC Arts Council, which Mr. LaHay says has allowed the company to commission original works from established and up and coming Canadian choreographers.

“I wanted to build a company that could easily move between performing classical repertoire and new creative work, as well,” he says and adds, “Our audiences expect tutus and tiaras because we are Ballet Kelowna, but then we also introduce them to what new choreography is as well, and I think that is the success of Ballet Kelowna.”

Ballet Kelowna, Forward

From the Trenches to the Triumphs, Ballet Kelowna Dances On

By Jacqueline Steuart

24 just dance! | Spring 2015

Glenna Turnbull (x2)

When Mr. LaHay found out that Simone Orlando—whose first choreographic commission was to Ballet Kelowna in 2005—had been offered the Artistic Director position with the company he says he was “over the moon.”

Mr. LaHay, who retired in 2014 after a long and successful career, says he hopes Ballet Kelowna becomes well known under Ms. Orlando’s direction and he adds, “I know audiences will be taken on a wonderful ride by the new choreography and new vision of what dance is all about.”

Moving Forward Ballet Kelowna is heading into its 12th season with a new artistic director and a fresh choreographic approach. The company of six dancers and one trainee, has bounced back from its near collapse two years ago when the former board of directors announced the company could no longer meet its financial obligations. Fortunately, with an outpouring of support from the community, Ballet Kelowna has emerged as strong as ever and is hard at work preparing their spring 2015 tour aptly named Forward: A Mixed Repertory Programme.

The award-winning* Okanagan-based company, which has historically presented iconic classical and neo-classical Canadian works to smaller communities across BC and Alberta, is reaching beyond presenting masterpieces like Brian MacDonald’s Double Quartet and Kay Armstrong’s Etude, and pas de deux from major ballets like Giselle, and Romeo and Juliet, to debut new contemporary works this season.

Although the company’s roots are firmly planted in classical ballet as evidenced by their recent and successful presence in The Canadian School of Ballet’s The Nutcracker, this spring the troupe of young dancers will offer original pieces from Canadian choreographers James Kudelka, Shawn Hounsell, Heather Myers and BK’s new artistic director and chief executive officer, Simone Orlando.

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Before taking the helm at Ballet Kelowna in September 2014, Ms. Orlando did something not many aspiring artistic directors do—she went to business school. Although, the accomplished dancer and acclaimed choreographer had been preparing for the inevitable shift from onstage to backstage, she may be the only artistic director of a ballet company in Canada who also holds down the chief executive role. In a rare and strategic move, the new board of directors at Ballet Kelowna combined the roles of artistic director and executive officer to protect the future of the organization. It’s a move Ms. Orlando supports Ballet Kelowna Dancers Group Photo

Spring 2015 | just dance! 25

Ballet Kelowna Biographies Simone Orlando

David LaHay

Artistic Director and CEO of Ballet Kelowna, has an extensive professional dance background. She has performed with The National Ballet of Canada, Desrosiers Dance Theatre, and Ballet BC. Ms. Orlando is also an acclaimed choreographer and has been the recipient of many awards including the prestigious Clifford E. Lee Choreography Award, which she won in 2006 at The Banff Centre.

Founder and Artistic Director Emeritus, Ballet Kelowna (20022014) Mr. LaHay performed principal roles with Les Grand Ballet Canadiens and was a guest artist with The Royal Swedish Ballet.

In addition to his successful performing career, Mr. LaHay has served as ballet master to Les Grands Ballets Canadiens, The Ottawa Ballet, Alberta Ballet Company, and he was the associate director of the Banff Summer Dance Program. Mr. LaHay retired from dance in May 2014.

For more information about Simone Orlando, David LaHay, and Ballet Kelowna, please go to balletkelowna.ca

Since settling into her new positions at Ballet Kelowna, Ms. Orlando is thrilled with the support the company is getting from the community. In addition to a jump in season tickets subscriptions, she says people have been sending messages of interest and encouragement. “I have really been trying to reach out to people, sharing our choreographic process and previewing our work for audiences, so they can see and understand what it is Ballet Kelowna does on a daily basis.” She says people have been very vocal about their support for the ballet company.

Going forward, Ms. Orlando would really like to broaden and deepen Ballet Kelowna’s roots within BC’s interior and she hopes to see the company transform

SUMMER DANCE 2015

June-August Professional Rigorous Training Creation & Repertoire For application and audition dates visit: www.balletjorgencanada.ca/education

26 just dance! | Spring 2015

Emily Cooper (left) Marissa Baeker (right)

because she says every decision made at the artistic level affects the financial bottom line. “As both Artistic Director and CEO I have to ask myself, ‘How do I produce work that has a high degree of artistic merit, but at the same time do it in a sustainable way to make sure the company is still here five or 15 years from now?’”

Ballet Kelowna Spring 2015 Tour March 1, 2015 - Vancouver, BC: Performance Works, Granville Island, Arts Umbrella Sunday Performance Series - excerpts from Forward: A Mixed Repertory Programme

Ballet Kelowna dancers Mark Dennis and Julie Pham in rehearsal for Shawn Hounsell's new piece -Blue.

Ballet Kelowna 2015 Spring Tour dancers Jed Duifhuis and Ballet Kelowna Alumna Christina Cecchini

March 3, 2015 - Kelowna, BC: Community Theatre: Ballet Kelowna presents stars of New York City Ballet in The Ashley Bouder Project including Canadian Premiere of Rouge et Noir by Canadian choreographer Joshua Beamish March 27, 2015 - Summerland, BC: Centre Stage Theatre - Forward: A Mixed Repertory Programme

Glenna Turnbull (x2)

March 29, 2015 - Princeton, BC: Riverside Centre - Forward: A Mixed Repertory Programme April 1, 2015 - Revelstoke, BC: Revelstoke Performing Arts Centre - Forward: A Mixed Repertory Programme

April 7, 2015 (TBC) - Kamloops, BC: Sagebrush Theatre - Forward: A Mixed Repertory Programme April 11, 2015 - Banff, AB: Banff Centre, Eric Harvie Theatre - Forward: A Mixed Repertory Programme April 15, 2015 - Penticton, BC: Cleland Theatre - Forward: A Mixed Repertory Programme April 17, 2015 - Coquitlam, BC: Evergreen Cultural Centre Forward: A Mixed Repertory Programme April 20, 2015 - Creston, BC: Prince Charles Theatre - Forward: A Mixed Repertory Programme April 24, 2015 - Kelowna, BC: Kelowna Community Theatre - Forward: A Mixed Repertory Programme

Spring 2015 | just dance! 27

Half Day Program

Pre-Professional Training Company

15+ hours in Ballet, Jazz, Contemporary, Pointe, Lyrical, Musical Theatre and more

Specialized training in Contemporary, Ballet, Partnering and Improvisation.

Performing Classes and Touring/Performance Opportunities

16 hours of training/choreography per week.

Workshops and Master Classes

Master classes with highly acclaimed choreographers and teachers worldwide.

from a regional company to one that is invited to perform nationally and internationally.

“I am committed to ensuring that Ballet Kelowna’s activities and performances continue to serve the mandate of the company, which is to educate and inspire audiences everywhere.”

*Awarded to Ballet Kelowna • 2009 The Okanagan Arts Award • 2008 Touring Artist of the Year by the BC Touring Council • 2006 The Angel Award for Excellence in the Arts, awarded to Artistic Director David LaHay, from the Central Okanagan Arts Council.

Audition by Appointment 604-980-3040 info@rnbdance.ca 3355 Mountain Hwy North Vancouver

Audition Dates Sunday May 10th Sunday June 14th

Registration: rnbdance.ca - Summer Intensive - Summer Camps - Fall Schedule

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Repertoire and Tour Schedule for Ballet Kelowna: Spring 2015 Forward: A Mixed Repertory Programme.

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Place des Arts Acro • Ballet • Jazz • Hip Hop • Tap Contemporary • Lyrical • Dance Sampler Song & Dance • Musical Theatre • Acting • Singing recreational to pre-professional for children, teens & adults

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Classes held at Place des Arts & Evergreen Cultural Centre www.placedesarts.ca 1120 Brunette Ave., Coquitlam

Call 604.664.1636 for more information!

28 just dance! | Spring 2015

Byrd Music, a Ballet Kelowna premiere by renowned Canadian choreographer James Kudelka. This will be the first time Kudelka has set a piece on the company.

Blue, World Premiere, choreographed

by Montreal-based Shawn Hounsell, formerly of the Royal Winnipeg Ballet.

Blue is set to George Gershwin’s Rhapsody in Blue.

Untitled: Simone Orlando is choreographing a still-under-wraps world premiere. Details will be available online closer to tour dates.

Lee Dances: Excerpts from the winners of the Clifford E. Lee Choreography Award* that were created at The Banff Centre’s summer Professional Dance Program features the works of choreographers and winners: Shawn Hounsell, Heather Myers, and Simone Orlando. *The Clifford E. Lee Choreography Award is a juried prize presented by The Banff Centre to encourage and reward the development of North American choreographers.

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AMAZING OPPORTUNITY EASTER WEEKEND CHILLIWACK

Anvil Centre, New Westminster, BC | 777 Columbia Street

Coming to Greater Vancouver, June 13 & 14, 2015 Western Canada’s Only DANCE EXPO Everything Dance Under One Roof!

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dancewear retailers; dance shoe and dancewear manufacturers; accessory and makeup suppliers; convention, workshop and competition organizers; dance schools and studios; professional performance companies; performing arts academies; costume suppliers; equipment and floor suppliers; audio/visual equipment services; dance photographers; post secondary schools; chiropractors; physiotherapists; massage therapists; nutritionists; and more…

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Visit dance po.ca for More Information & Updates Contact Us to Book Your Exhibitor’s Space: info@dance po.ca

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Date: March 16—20, 2015 Time: 9:30am—3:30pm Age / Level: 5+ years / Intro & Intermediate levels welcome Come join us for this incredible opportunity for you to learn and refine your dance skills in Jazz, Tap, Hip hop & Stage classes. Best of all you will have fun doing crafts and establishing new dance relationships.

We are also holding Advanced Jazz Technique Classes during spring break on March 10, 12, 17, & 19th from 5:00—6:30pm.

Come check out our Website to learn about how you can be apart of these dance camps!

8-3160 Westwood Street, Port Coquitlam | Phone : 604 - 468 - 7400 | www.encoredanceacademy.ca

E ncore D ance A cademy Spring 2015 | just dance! 29

The Anatomy of a Floor

By Randy Swartz There are a lot of different kinds of floors.

A proper dance floor system addresses the safety and performance needs of your dancers. Those needs are: 1.

An energy absorbent subfloor to wick away constant impact with the surface.

2.

An appropriate non-slip, safe environment on which to work.

3.

Support for balance (lateral foot support).

4.

Sound enhancement (if needed) for percussive dance.

5.

Appropriate floor colour for studio and/or stage lighting.

High impact dance/movement activities (cheer, jazzercise, character, repetitive big jumps) flourish best with a subfloor system that is more resilient, or has more spring to it. Most dance styles, such as ballet, contemporary, jazz, and tap work best on a subfloor that is both resilient and absorbent (wicks away energy). Ballroom and yoga are more suited to a primarily energy absorbent floor.

Different movement styles each have an ideal coefficient of friction. All can function within an overlapping range.

Tap works with a fast floor, while ballet’s ideal is a slow surface. I use slow and fast as opposed to slippery and sticky to

not make a value judgment because all floor surfaces fall somewhere on the slow/fast scale. Bare feet require a slower floor; jazz dance and ballroom requires a faster floor surface. For the most part all these dance styles fit within the criteria of a multi-purpose floor. So while no multi-purpose floor surface is ideal for every style of dance, they provide a safe environment in which to work for just about everyone.

There are also floors specifically designed for primarily one style of dance. If you are just interested in a floor for tap or ballet you can find a floor surface that caters specifically to that need. For tap, it would be sound, floor speed, and the ability to handle percussive dance. For ballet, it would be cushioning and non-slip.

Roll out floors are usually called Marley, referencing a company in England that introduced these type floors in the late 1960’s. By 1979, Marley had stopped producing, but the name stuck. The original Marley floor called “Stagefloor” was a reversible black/grey, soft, lightweight portable floor. It is possible to find floors very similar to the original. All roll out floors are made from PVC. Thickness, density, color, texture, foam and other elements differentiate one floor from another.

There are also hard woods that can accommodate different dance styles.

Here factors include the hardness of wood (oak is softer than maple), the finish, the temperature and humidity in the room, and the specifications for maintenance.

Dance floor systems consist of several elements. You need to consider all of them when planning for your studio.

A raw concrete slab requires a vapor barrier, either liquid or sheet vinyl.

Concrete will pump into a studio a steady stream of moisture vapor, and if not stopped, this vapor can negatively effect wood. Next you need a floating wood subfloor to provide a safe environment and counter repetitive impact injuries.

Subfloor can be stand alone, part of a wood floor system or the foam backing on some high end roll out floor system.

The wear surface is what you see and what you dance on. It handles the wear and tear, the non-slip level and the “feel” under foot.

There are four ways dance f loors are installed..

6.

“Temporary” utilizing top tape which can be either vinyl or cloth.

7.

“Short-term semi-permanent” employs both top tape and doublefaced tape connecting the flooring to the subfloor.

8.

“Long term semi-permanent installation” is realized by using

Springstep IV Panel 30 just dance! | Spring 2015

“ReUseIt” a taping system using suction that is installed beneath the flooring.

9.

“Permanent” where a professional installer uses a full spread adhesive to permanently adhere the floor to the subfloor.

In addition, most flooring systems will create a height differential between 1.5” and 3” inches off the concrete.

It is required to ramp this differential in accordance with regional codes regarding easy access for all.

Wood subfloors and wood floor surfaces can absorb water vapor from the air as well as from general cleaning procedures.

Therefore, flooring systems need to vent air captured beneath the wood.

Subfloor and surface need to be no less than ½ inch away from the walls.

Bridging this gap is a product called vented wall base which allows air circulation to wick away moisture which can damage the wood.

It is also important to review and access the heating and air conditioning systems in your space as temperature and humidity play a major role in how floors behave.

Dance floor systems are a bit more complicated than it first appears. It is worth it to pay attention to the details at the beginning of the selection process, otherwise you will undoubtedly pay the price later on.

Randy Swartz founded Stagestep more than 45 years ago and has introduced many innovative flooring products, including Slip NoMor, foam backed flooring, pre-fabricated floating subfloors, and colorize, a colorchanging floor finish. He currently serves as artistic director of Dance Celebration, a major dance series in Philadelphia, and was the US judge at a number of international ballet competitions.

Spring 2015 | just dance! 31

A group of teens connecting at the Girlvana Yoga retreat.

Little dancers at Edmonton pre-school class.

A student practicing ariel hoop at Circus West.

Spring Break or Take a Break?

By Jacqueline Steuart

M

any dance studios shut down during spring break to give dancers, teachers, and parents a well-earned rest before competition season flares up. For many dancers taking a break from their regular training schedule is a good idea. “Dancers are often worried that if they stop dancing for longer than a few days they will lose all their technique and it will take them longer to get back in shape,” says Monika Volkmar of The Dance Training Project, a Toronto-based strength and conditioning studio. But she says dancers have nothing

32 just dance! | Spring 2015

to fear when giving their bodies time to recover from chronic overuse. In other words, don’t feel guilty about taking a break if you feel you need one.

However, if sitting still isn’t an option for you then consider adding to your arsenal of mad dance skills by trying a new activity or dance style. Increasing your artistic vocabulary and exploring new genres is a great way to expand your overall range as a performer and increase your hireability in the future. So, if you’d like to find out if you really can sing, (and not just in the shower), or you want to know what it’s like to strap on a pair of tap shoes and make some noise, then spring break is the perfect time to make a short-term commitment toward your long-term goals.

From circus arts to yoga, improvisation to musical theatre, here are a few spring break programs across Canada that promise to engage, inspire and challenge while you build skills, make new friends, and have loads of fun doing it.

Spring Break Camps Ever wonder what it’s like to swing from a trapeze or wrap yourself in an aerial silk?

Jay Nunns, artistic director of Vancouver’s CircusWest, says dancers - because of their strength, flexibility and coordination - are a natural fit when it comes to performing on the aerial silks, or juggling.

He says exploring circus arts is a great way for dancers to challenge themselves and to build upper body strength. After one week at a circus camp you’ll get a taste of what being a Cirque du Soleil performer is all about.

CircusWest Ages 7-14 PNE Garden Auditorium, Vancouver, March 9-13, 2015 Shadbolt Centre for the Arts, Burnaby, March 16-20 2015 circuswest.com For students who simply want to get away from it all, Girlvana Yoga is offering a girlsonly overnight camp at Bodega Ridge on beautiful Galiano Island, British Columbia.

This could be the perfect getaway for dancers who want to have lots of fun and meet new friends (did I say weeklong pajama party!), but also reap the benefits of yoga that include improved core strength and flexibility plus increased energy and injury prevention.

Clockwise from top: Tristan Casey, Paul McGrath, Ian Paterson, Annie Sakkab.

OIP Summer Dance Intensive.

Dancers show of their stuff at Leaping Feats.

Dancers having fun at the Fresh Dance Intensive.

Girlvana Yoga Ages 13-18 Galiano Island, B.C. March 16–March 20, 2015 girlvanayoga.com As dancers are aware, becoming a triple threat performer can open many doors when it comes to a professional career, so why not start developing some vocal skills over the spring break? GLEE Camp

Children "acting up" at the Gateway Academy Musical Theatre program.

and microphone technique. Campers also use stage techniques, games and improvisation exersises to increase their confidence and make new friends while blasting out the latest pop songs. No audition necessary and the week wraps up with a concert for your friends and family.

Beaumont Theatre, Vancouver

Vancouver at Beaumont Studios Black Box Theatre teaches kids proper vocal

gleecamp.ca

get better than this. If you’re in Toronto this spring, be sure to check out Second City Training Center for amazing course offerings in improvisation and sketch comedy. Second City has been the training ground for many famous actors and performers including John Candy,

GLEE Camp Ages 8-12 March 9-20, 2015

Speaking of improvisation, it doesn’t

Martin Short and Andrea Martin, just to name a few. Improvisation is a fun and vital skill for dancers, especially those who long to become versatile performers.

Pre-Professional Dance Training Program Auditions Saturday April 18th, 2015 ages 8 - 9 years 4:30 - 5:00 pm

From left: Alvin Collantes, David Cooper, Sarah Lewis.

ages 10-12 years 5:00 - 5:30 pm ages 13-14 years 5:30 - 6:30 pm ages 15-18 years 6:30 - 7:30 pm

www.OneDance.ca

Introducing a Vaganova (Russian) ballet method pre-professional dance training program in North Vancouver.

Ages 5 and up. Half day program for grades 8-12.

Program begins September 2015.

Call or email to book your audition time: OneDance@shaw.ca (604) 987-8747 286 Pemberton Ave, North Vancouver Spring 2015 | just dance! 33

programs at Harbourfront Centre. The visual and performing arts classes end with an Open House so students can showcase their work to family and friends.

Harbourfront Centre also hosts one of the longest running circus camp programs for children in Ontario.

Harbourfront Centre Ages 3-15 Toronto, Ontario Finding inner peace at Girlvana retreat.

March 16-20, 2015 harbourfrontcentre.com

Laugh out loud while learning to think fast on your feet and make funny new friends while you’re there.

Second City Training Center Grades 2-12 (separate groupings by age) Toronto, Ontario Comedy Camp/ Directed Play Intensive (Grades 9-12) March 16-20, 2015 secondcity.com/training/toronto/ Also in Toronto, young dancers and firsttime campers may wish to check out the mix of exploratory and specialized

Collage on Tap.

* PROFESSIONAL, PASSIONATE STAFF * FOUR BEAUTIFUL STUDIOS * CONVENIENT NORTH BURNABY LOCATION * 10 MONTH PROGRAMS * SUMMER CAMPS AND WORKSHOPS

For really young dancers who don’t want to hang up their dance shoes for the week, Toronto’s Swansea School of Dance is offering full- or half-day camps (with before- and after-care) that will incorporate different styles of dance, music and crafts to keep kids engaged and entertained. Students will have a hand in creating a performance for their parents to watch on the last day of camp.

Swansea School of Dance Ages 3-10 Toronto, Ontario March 16-20, 2015 swanseaschoolofdance.com

NEW 2015/ 2016 CALENDAR - MAY 15TH RETURNING STUDENT REGISTRATION - JUNE 1ST-7TH NEW STUDENT REGISTRATION- JUNE 8TH-17TH AUDITIONS FOR COMPETITIVE/ HALF DAY PROGRAMS – MAY 31ST ENCORE PERFORMANCE - JUNE 19TH and 20TH, 2015

RECREATIONAL CREATIVE/BEGINNER/YOUTH PROGRAMS BEGIN AT AGES 3 AND UP COMPETITIVE RECREATIONAL/PROFESSIONAL PROGRAMS BEGIN AT AGES 8 AND UP

WWW.SPOTLIGHTDANCECENTRE.COM INFO@SPOTLIGHTDANCECENTRE.COM 34 just dance! | Spring 2015

604.299.6111

Top right: Tristan Casey

Improvising at the Second City Improv Training Center.

Here are more Spring Break camp ideas followed by a sneak peek of some exciting 2015 summer camps and intensives that include conditioning, hip hop, jazz, ballet, choreography and musical theatre for the recreational and pre-professional dancer.

More Spring Break Camps

JULY 12-18

Leaping Feats Creative Danceworks Ages 5-12 Whitehorse, YT | March 16-March 20 & March 23-27, 2015

2 0 1 5 Faculty

Immerse yourself in an energetic week of hip hop and breakdance classes. Camps will involve full days of dancing, choreography, arts and crafts, and video creation. leapingfeats.com

North Vancouver, BC | March 9-13 & March 16-20, 2015

2 1 ST YEAR

Pro Arte Centre R.A.D. Grades 1-Advanced

Meg Lawson Jillian Meyers Devin Jamieson Special Guest TBA

NOTE: Students who have not taken ballet RAD or ISTD examinations must apply with a video audition. Video should include a short section of barre work, pirouettes, allegro and pointe (for standard 4 & 5).

D A N C E

C A M P

INFO & REGISTRATION www.fusiondanceco.com (604) 459-8200

proartecentre.com

Vancouver Tap Dance Ages 6-12 Vancouver, BC | March 16-20, 2015 Work a different dance style each day including tap, hip hop,

Faculty subject to change due to availability

jazz and musical theatre. Campers prepare a show for Friday afternoon. vantapdance.com

CLASSES FOR AGES 3 AND UP

Flato Theatre Markham Ages 6-14 (Two camps)

Breakdancing | Hip Hop |Acro | Tap | Ballet Jazz | Modern | Musical Theatre

Markham, ON | March 16-20, 2015 Children ages 10-14 will explore a variety of theatre techniques such as improvisation, puppetry and dramatic movement.

This is an incredible opportunity to build confidence, presentation and artistic skills. Younger campers ages 6-9 can learn

Advanced/ Professional HIP HOP Tech Classes ALL YEAR with Ryan Morrissette $10 Drop In! Thursdays 6:15 pm

CONTACT US TO REGISTER 778.232.0868 dancefxmapleridge.ca dancefxmapleridge@gmail.com #100 - 22722 Dewdney Trunk Maple Ridge, BC

performance skills such as acting, dancing and singing in a completely inclusive, fun, and friendly environment. markham.ca or call 905-475-4731Â Â

Living Arts Centre Ages 6-14 Mississauga, ON | March 16-20, 2015 LAC gives young day campers loads of opportunity to learn all kinds of visual and performing arts skills whether on stage, in the studio, or behind the scenes. livingartscentre.ca/march-break-camp.html

Spring 2015 | just dance! 35

Some (Cool) Summer Intensives

Aug 17-21 in Georgetown, ON

With so many summer schools and intensives to choose from dancers will want to be selective about where they spend their time. Here is a sneak peak at select summer camps across the country that promise exciting programs especially for those dancers who wish to explore new genres, work with different instructors, condition and strengthen their bodies, and refine their technique.

Aug 17-20 in Gatineau, PQ

Fresh Dance Intensive A FRESH Dance Intensive workshop provides dance experiences (classes, rehearsals, special events) in a variety of styles including ballet, jazz, lyrical, contemporary, hip hop, improvisation, partnering, street jazz and funk, modern and so much more. freshdanceintensive.com Canada-Wide Summer Tour 2015 Aug 4-7 in Calgary, AB Aug 4-7 in Stratford, ON Aug 8-9 in Toronto, ON Aug 10-14 in Edmonton, AB Aug 11-14 in Regina, SK Aug 11-14 in Ottawa, ON

36 just dance! | Spring 2015

Aug 17-21 in Dawson Creek, BC

lighting and costumes for a three-day run on Gateway Theatre’s mainstage.

Acting Camp: ages 8-10 & 11-13

The Acting and Improvisation camps will be lead by professional performers, who will encourage day campers to have lots of fun during exploratory and interactive classes.

Students will not only learn character development and relationship building, but they’ll also get to play, discover new talents and practice their ideas while working collaboratively on unique projects.

Improvisation Camp: ages 8-10 & 11-13

gatewaytheatre.com

Musical Theatre Camp (Four weeks): Ages 8-13, Admittance by audition.

The School of Alberta Ballet Ages 3-17

July-August 2015 (Various dates and times)

Edmonton, Alberta: Summer Dance Intensive July 13-24, 2015

Summer campers can explore acting, improvisation or musical theatre in one of three separate camps. Acting and improvisation, classes are open to all children; however, admittance to Gateway’s long-established four-week Musical Theatre Intensive is by audition only and students with musical theatre experience will do extremely well in this fun and demanding program. Working with an entire creative team, including Theatre Director, Barbara Tomasic, students will develop and perform a finished production complete with props,

Calgary, Alberta: Summer Dance Camp (FLEX): July 6-10, 2015

Aug 22-23 in Toronto, ON Aug 28-30 in Toronto, ON *More dates and locations TBA.

Gateway Theatre Ages 8-18 Richmond, B.C.

Summer Dance Camp (INTENSIVE): July 12-17, 2015 Summer Dance Intensive: August 17-21, 2015 Summer classes include ballet, pointe, character, contemporary, repertoire, ballet history and body conditioning.

Auditions not required for a variety of summer programs offered by the School of Alberta Ballet in both Edmonton and Calgary. (*Admittance to the School of

Alberta Ballet’s four-week summer school is by audition only.)

Edmonton: schoolofalbertaballet.com/ open-division/edmonton/summer-dancecamps.html Calgary: schoolofalbertaballet.com/opendivision/calgary/summer-camps.html

Decidedly Jazz Danceworks Ages 5-18 Calgary, Alberta

Beginner to Advanced Many styles of dance are offered in a few different camps including jazz technique, choreography, swing, west African, rhythmic dance, improvisation and creative dance, hip hop and contemporary. Each week culminates in an informal performance at the DJD Studios. No audition is required. decidedlyjazz.com

IGNITE (Audition only)

School of Canadian Contemporary Dance Theatre

a series of classes, workshops and collaborative rehearsal experiences, the program aims to help artists broaden the scope of their own creative possibilities.

IGNITE provides dancers with the tools they need to prepare for a professional career.

The Professional Edition (July 19-July 24, 2015) is designed for early career dance artists including those currently attending post-secondary dance institutions.

The Emerging Artist Edition (July 26- July 31,2015) is geared toward aspiring dancers ages 15 and over.

AUDITIONS: Sunday, April 26 from 5:00 p.m.-8:30 p.m. at CCDT, 509 Parliament Street, Toronto, ON or Sunday, June 7 from 5:00 p.m.-8:30 p.m. at CCDT, 509 Parliament Street, Toronto, ON. (You only need to attend one audition.)

Deadline for video applications is Monday, June 1 at 5:00 p.m. *Limited scholarships available. *Residence option available. toesfordance.org

Dancers of all ages, levels, and dance backgrounds can become stronger and take their dancing to the next level with strength training and conditioning.

Improve body alignment and learn to prevent injury through guided exercises while having fun and getting fit. danceproject.ca

O.I.P. Dance Centre Toronto, Ontario Summer Dance Intensive (various dates) July 2015 O.I.P offers weekly classes in jazz, hip hop, acro, musical theatre, breaking and krump.

Dancers will work with choreographers to prepare a show for family and friends on each Friday. Teachers at O.I.P have worked with many prominent performers and shows including: SYTYCD Canada, Ariana Grande, Shawn Mendes, Rihanna, Katy Perry, Much Music Video Awards, Shakira, Britain’s Got Talent, Jully Black, Honey, the movie, Shawn Desman, Kardinal Offishall, Hedley and many more.

Toronto, Ontario

ccdt.org

July 19-July 24, 2015 or July 26- July 31, 2015

The Dance Project

IGNITE is an exciting, by audition-only, one-week summer dance program for contemporary dance artists. Through

Summer Training Intensive 2015

O.I.P concludes each week of summer camp with a prize giveaway including scholarships for O.I.P’s Summer Dance Intensives 2016, a professional demo reel, photoshoot and more.

Various start dates June-August

oipdance.com

Toronto, Ontario

Spend summer 2015 learning from the pros in LA! just dance! is awarding 3 scholarships to

This INVITATION ONLY career dance intensive is for advanced dancers who are interested in learning about the commercial dance industry in Hollywood. Participants are mentored by top industry professionals who are actively working in the entertainment industry in LA. HST accepts only a select group of dancers who apply from all over the world to attend this prestigious program.

Enter to win 1 of 3 $500 Scholarships (1 Kidz, 1 Teenz, 1 Adultz scholarship available) Send us a link to a video of you dancing along with a brief paragraph explaining why would like to attend the HST to info@justdancemagazine.com with the subject line HST Scholarship no later than March 15, 2015. Winners will be announced April 1, 2015.

thehollywoodsummertour.com | justdancemagazine.com Spring 2015 | just dance! 37

dancexpo Anvil Centre, New Westminster, BC 777 Columbia Street

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3. Meet & Beat the Competition: Tradeshows offer you the opportunity to meet your competition and stand out from them.

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Visit dance po.ca for More Information & Updates Contact Us to Book Your Exhibitor’s Space: info@dance po.ca 38 just dance! | Spring 2015

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Celebrating Tap with the West Coast Tap Dance Collective

by Racquel ForaN

I

n the Spring of 2003 a small group of people from Greater Vancouver decided that the needs of tap enthusiasts were not being well-served in the region, and that the art from was not being promoted enough.

So, to change this, they formed the West Coast Tap Dance Collective. Its purpose is to “provide an opportunity for tap dancers of all levels to network and participate in a collaborative environment and to promote tap dancing as an art form by educating the public through performances and instruction.”

The West Coast Tap Dance Collective work to achieve their goals in a number of ways including hosting regular tap jams and annual Tap Day celebrations, giving tap talks at the Vancouver Public Library to educate dancers and the public about tap dance, and by awarding scholarships to advanced level students so they can further their studies. The number of tap jams they host each year varies, but they aim for at least three. The most recent ones tied in with Halloween and Valentine’s Day. As a not-for-profit organization, fundraising is key to achieving everything they want to.

Their biggest event and primary fundraiser is their Annual Tap Day Celebration. Every year at the show they honour a Canadian tap dancer who has made a significant contribution to tap dance in Canada. Past honorees include Blanche and Alan Lund, Jeff Hyslop, and Heather Cornell. This year’s honouree is Ruby Keeler who was born in Halifax and is most famous for her starring role in 42nd Street.

Natalia McLaughlin dancing at the 2014 Tap Day Celebration.

Joel Hanna.

The show will take place at the Massey Theatre in New Westminster, BC on May 24th. The current president of the Collective, Jan Kainer, says their goal is to raise enough money to expand the Tap Day Celebration into a three-day festival which would include workshops and social events for tappers. Funds raised are also used to award scholarships to both dancers and teachers, as well as to donate tap dance books and DVDs to the Vancouver Public Library.

Kainer says there are a number reasons both individuals and studios should consider becoming members, “they are helping us

promote tap, but they also get discounts on the tap jams, workshops and shows, as well on tap shoes at danceCraft in Surrey, and on a tap floor from Tappin’ Time.

If you want to help the West Coast Tap Dance Collective “create a strong network of tap dancers and enthusiasts from diverse backgrounds and bring together dancers of all levels and affiliations,” then look them up. Both the Collective and the art of tap dance would appreciate your support.

More information about membership and events contact: westcoasttapdance.com

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Join danceCraft Club & save 10% on basics!

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{ B a l ance }

Training During the Competition Season

by Monika Volkmar “… but I’m too busy rehearsing!” This is not a good reason to forgo a regular conditioning routine. Dance in the 21st century isn’t getting any easier.

Choreography is becoming increasingly challenging, requiring a combination of athleticism, grace, and flexibility. Taking technique classes alone isn’t enough to meet these new physical demands. Are you strong enough? In addition, with the upcoming competition season, you’d better believe you will be repeating the same challenging moves over, and over, and over. Are you durable enough?

Competitions can be draining. The pressure to succeed, extra hours rehearsing, the mental strain… it’s enough to burn you out before you even get on stage. But how silly is that? To spend all your time and energy “preparing” only to find yourself a wreck on competition day.

It doesn’t have to be that way, though.

Imagine a cup. To state the obvious, a bigger cup can hold more fluid, and will take longer to drain than a smaller cup.

Now let’s imagine your body is the cup your maximum potential capacity - and the fluid within is your actual energy reserve. When you’re in competition mode, you’d better hope you’re starting with a big, full cup.

40 just dance! | Spring 2015

Company dancers from Pulse Dance Centre spend an hour each Sunday conditioning and strength training at Engineered Bodies Strength and Conditioning in Port Moody, BC.

If you strength train regularly, you start with a bigger cup. When you get enough rest and recovery, and eat a nutritious diet, you fill the cup. When you monitor your recovery and recuperate effectively, you spill less from the cup. However, every time you neglect your recovery - overuse a muscle group, sleep too little, or aren’t eating a healthy diet - you drain the cup a bit.

Competition season tends to drain the cup much faster than usual. The result?

You burn out. You become over-trained.

You’re sore everyday. Your performance gets worse, not better, despite practicing more and more. You might even decide to perform injured. Maybe, call it dedication, you decide to perform injured. That makes things worse. And by then your small cup is empty and you need physiotherapy to refill it.

To increase the actual size of your cup, or your work capacity, strength is the key.

Often dancers become injured because they are so mobile, but lack the strength to control it. Repetitive movement, combined with hypermobility and poor strength is a perfect combination for injury. Lack of strength also makes it difficult to produce enough force for challenging leaps and lifts, and to achieve the stability required for turns and balances.

If your cup completely empties, it takes more time to fill it again. And while physiotherapy helps to refill your empty cup just enough to get you back on the dance floor, it doesn’t actually increase the capacity of the cup. You have to work proactively for that. This is the key to avoiding burn-out during competition season: upgrade your cup.

While you may want to focus on dance, and only dance during competition season, I strongly recommend you take some time to work on strength development to improve your work capacity and durability. While overtraining is a real concern, dancers will benefit greatly from participating in 1-2 strength training sessions per week while “in-season”, as well as doing some specific exercises as part of their warmup before classes and rehearsals. These sessions should focus on proper breathing and alignment, and strengthening the abdominals, and upper and lower body.

In addition, training sessions should be used to address poor functional movement quality, asymmetries, and mobility needs.

How do you increase your body’s capacity to do hard work? By strength training.

Next, you must keep your cup full to keep dancing at an optimal capacity.

Katarina Clutchey (x3)

The Benefits of Strength

{ B a l ance } “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.”

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

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

That’s where proactive recovery is key. Sleep,hydration, nutrition, stress management, rest from activity, soft tissue work, and light restorative exercise are all means to ensure you’re recovering enough.

Ballet • Tap • Jazz • Acro Contemporary • Lyrical Musical Theatre • Hip Hop

The more time you spend dancing, the more time you should spend recovering from dance.

In the end, it’s your call, but choosing to strength train regularly in and out of competition season is something I recommend. Wouldn’t you feel more confident entering the most draining part of the dance year knowing your cup is big and full, and you’re really good at not spilling anything?

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

www.douglasballet.com dba2@telus.net • 604-420-0204 202 – 4199 Lougheed Highway, Burnaby, BC

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Spring 2015 | just dance! 41

Visit our website for direct links to listings’ websites: justdancemagazine.com ACADEMIES, SCHOOLS & STUDIOS 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 Ballet Bloch Canada balletbloch.com info@balletbloch.com North Vancouver, BC Ballet Jörgen balletjorgencanada.ca info@balletjorgen.ca

416 961 4725 Toronto, ON Boswell Dance Academy boswelldance.com info@boswelldance.com

604 522 4424 New Westminster, BC Centennial College centennialcollege.ca 416-289-500 ext. 4343 Toronto, ON Dance Collective (formerly Douglas Ballet Academy)

douglasballet.com dba2@telus.net 604 420 0204 Burnaby, BC DanceFX dancefxmapleridge.ca dancefxmapleridge@gmail.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 defygravitydance.ca office@defygravitydance.ca 604 272.0808 Richmond, BC 42 just dance! | Spring 2015

Driftwood Dance Academy driftwooddance.com info@driftwooddance.com 604 770 4650 North Vancouver, BC Encore Dance Academy encoredanceacademy.ca office@encoredanceacademy.ca 604 468 7400 Port Coquitlam, BC Fusion Force Studio fusionforcestudio.com fusionf@telus.net 604 533 1863 Langley, BC The Landing Dance Centre thelandingdance.com info@thelandingdance.com 604 325 8653 Vancouver, BC Marr Mac Dance & TheatrE Arts marrmac.com 1968@marrmac.com 780 434 9281 Edmonton, AB 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 Pro Arté Centre proartecentre.ca info@proarte.ca 604 984 ARTE (2783) North Vancouver, BC Project Dance projectdancechilliwack.com 604 846 3262 Chilliwack, BC PULSE dance centre onthepulse.ca 604 474 3466 info@onthepulse.ca Port Coquitlam, BC RNB Dance rnbdance.ca info@rnbdance.ca 604 980 3040 North Vancouver, 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

The Spiral Dance Co. spiraldance.ca info@spiraldance.ca 604 541 2800 White Rock, BC Spotlight Dance Centre spotlightdancecentre.com info@spotlightdancecentre.com 604 299 6111 Burnaby, BC Tri-City Dance Centre tricitydance.com info@tricitydance.com 604 523 6868 Coquitlam, BC Victoria Academy of Ballet victoriaacademyofballet.ca 250 590 6752 Victoria, BC

COMPETITIONs, Conventions & Workshops danceXpo danceXpo.ca info@danceXpo.ca British Columbia Fusion Dance Camp fusiondanceco.com info@fusiondanceco.com 60 459 8200 The Hollywood Summer Tour thehollywoodsummertour.com info@ thehollywoodsummertour.com 1 818 574 8365 Los Angeles, CA Showtime Dance Promotions showtimedancepromotions.com info@showtimedancepromotions.com

250 768 7202 VIEW Dance Challenge viewdancechallenge.com info@viewdancechallenge.com 1 855 405 VIEW 1 416 405 8439 5678 Showtime 5678showtime.com info@5678showtime.com 604 721 7909

Performing arts retailers & SUPPLIERS Avalon Dance Shop of Canada avalondance.ca info@avalondance.ca 604 874 2461 Vancouver, BC Curtsey Cosmetics curtseycosmetics.com curtseycosmetics@gmail.com 905 630 8674 danceCraft dancecraft.ca dancecraft@shaw.ca 604 590 1733 Surrey, BC

Dream Duffel dreamduffel.com info@dreamduffel.com 877 378 1260 En Pointe Enterprises en-pointe.com info@en-pointe.com 1 866 491 9019 Forever Dancewear foreverdancewear.com info@foreverdancewear.com 604 770 0703 North Vancouver, BC Jazz Ma Tazz jazz-ma-tazz.com jazzma@telus.net Abbotsford: 604 855 9166 Maple Ridge: 604 466 0861

Professional companies Ballet Victoria balletvictoria.ca info@balletvictoria.ca 250 380 6063 Victoria, BC

Services Dancin’ at Sea dancinatsea.com mailbox@caladesitravel.com 800 742 5053 The Dance Training Project danceproject.ca info@danceproject.ca Toronto, ON Gemini Visuals geminivisuals.com info@geminivisuals.com 604 312 6330 Surrey, BC Kids Physio Group kidsphysio.ca admin@kidsphysio.ca Vancouver, Surrey, & North Vancouver, 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 TMMedia tmmedia.ca dance@tmmedia.ca

1 800 350 3137

TheatreS Evergreen Cultural Centre evergreenculturalcentre.ca info@evergreenculturalcentre.ca 604 927 6550 Coquitlam, BC

HST

Spring 2015 | just dance! 43

Royal City Youth Ballet Company Society presents

RCYB is a leader in training young dancers in the performance skills they will need to excel in the performing arts.

Don’t miss this opportunity to develop your skills as a dancer, training with world-renowned teachers and other dedicated dancers.

August 24 to 30, 2015 at the

Shadbolt Centre for the Arts 6450 Deer Lake Park, Burnaby

• Ballet Repertoire • Pas De Deux • Jazz • Musical Theatre All levels from Tiny-Tots to Majors Classes will be conducted under the watchful eye of our Artistic Director, Camilla Fishwick-Kellogg from Los Angeles California, and our Executive Producer, Trisha Sinosich-Arciaga

There will be a presentation on the last day of summer school, followed by

auditions to be a part of the company, and next year’s Nutcracker tour!

(Auditions are for dancers age 7 and up)

Register early, as space is limited For more information: phone (604)521-7290 or email: rcyb@telus.net

w w w . r o ya l c i t y y o u t h b a l l e t . o r g