Are we making good art, or just well crafted dances? Some might wonder if we’re even doing that. Where and how do choreographers learn to choreograph? It’s a question that bears consideration if the art form is to thrive, and when we start to ponder, more questions arise.
In a small café bar in downtown Vancouver, dancers Anne Cooper and Jennifer Clarke improvise to the sounds of live trumpet and guitar. Writers Imogen Whyte and Mary Kelly are in the audience. Afterward, the four of them discuss the performance.
Stating that, “There can never be art without community, or community without art”, writer Janelle Hardy argues for an expansion of the definition of art and the inclusion of the Mt. Lorne barn dances within this broader definition.
New Program Officer for Canada Council; Grand opening of new facilities at Canada’s National Ballet School; New dance books [Anatomie du Vertige – Ginette Laurin; The Nutcracker by Karen Kain]; Kaha:wi Dance Theatre incorporates [Santee Smith]; Beyond our borders [Alvin Tolentino]; Written resources for dance in Canada; Bowles wins NBoC Marrié Award)
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.
August 7-25 août 2017
At Arts Umbrella’s International Summer Dance Intensive, world renowned teachers, choreographers and repetiteurs offer a dance experience that will lead dancers to re