She said, a new work by Vancouver choreographer Alvin Tolentino for his company Erasga, explores the feminine in a layered, multimedia context. Writers Imogen Whyte and Mary Kelly immersed themselves in the work, absorbing and questioning its meaning(s). Here, they reflect and discuss their experience with interjections and responses from Tolentino.
In the late 1980s, choreographer, teacher and LADMMI co-founder Linda Rabin felt the strong impulse to leave dance and open herself to new possibilities. Through various body-based practices, she found her way to Emilie Conrad’s Continuum work and returned to dance as a Continuum teacher. Says Robin: “In Continuum, we practice bringing our attention not so much to the movement that we do but more so to the movement that we are.”
For James Kudelka’s An Italian Straw Hat, set on the National Ballet of Canada, there were the usual collaborative suspects – librettist, composer, designer – but in this and other Kudelka works, the dancers also make significant contributions during the creative process. With the input of his team, he’s creating a danceable farce with some high fashion moments and a little bit of raunch.
Contemporary lighting design has reached a degree of technical evolution where, far from simply illuminating the performers, it is now able to animate and manipulate the story itself. Now we can fill a blackened room with suns, stars and spotlights of our own creation.
Most dance artists and presenters must negotiate the tension between creating work that meets their artistic goals, that is accessible to their community and that provides the fiscal support required to live as an artist and to run a company. Emma Doran speaks with artists, organizations and presenters across the country to discuss who they envision their audience, how they are seeking to reach those individuals and what constitutes meaningful engagement with them.