“What makes you think you can do dance in a hockey town?” Despite the scepticism of a certain radio interviewer, since 1977, Harriet Gratian has been the artistic director of DancEast, a highly successful training studio and performance company in Moncton, New Brunswick. At fifty-three, she is reinventing herself through her work.
Born in the same year, 1951, Karen Kain and the National Ballet of Canada have been dancing a pas de deux since she joined the company as a dancer in 1969. Today, their partnership continues as she takes on the artistic directorship of the company. Based on their collaborative past, the future looks promising.
Two/four please. No, we need a three/four … or a six/eight? Argh! Whether in the dance class or the creative process, there seems to be a lack of clarity in how musicians and dancers discuss aspects of time in their work. In this article, the first in a series, musician and accompanist Chris Cawthray takes up the issue and proposes a solution.
Québec City is alive with dance. The small but strong community has taken some great strides in the recent past and will soon see the inauguration of a dedicated centre for contemporary dance. By Lydia Wagerer and Mario Veillette.
Dance organizations in Québec City (L’Artère, cooperative d’interprètes de la danse professionnels de Québec, Sonia Montminy, email@example.com; CapitaleDanse.com, Geneviève Taillon, www.CapitaleDanse.com; Code universel, Daniel Bélanger, firstname.lastname@example.org; CorresponDANSE, Lydia Wagerer, http://www3.sympatico.ca/lydia.wagerer; L’École de danse du Québec, Dominique Turcotte, www.ecolededansedequebec.qc.ca; Le fils d’Adrien danse, Harold Rhéaume, www.culture-quebec.qc.ca/h-rheaume; La Rotonde, centre chorégraphique contemporain de Québec, Johanne Dor, www.larotonde.qc.ca; Table de la danse du Conseil de la culture des régions de Québec et de Chaudière-Appalaches, Suzanne Mercier, www.culture-quebec.qc.ca)
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.
Principal dancer and resident choreographer with The National Ballet of Canada, composer, creator and, again this summer, artistic director of the Festival des Arts de Saint-Sauveur – an inspired meeting point of Canadian and international dance and music – Guillaume Côté describes himself as neurotic about dance.