What is it to be “from somewhere”? While the members of the Toronto-based Green tea collective can’t exactly say, it is something they certainly feel. United by their shared Japanese cultural heritage, the are preparing their second program of work, Dai Don Den 2.
It’s not high impact, cardiovascular or necessarily physically taxing, but making choreography is just as much a workout as dancing. Over five days in December 2005, Montréal dance artist Pamela Newell participated in the second Montréal Danse Choreographic Research Workshop. Here she reflects on her experience.
In January, Dancer Transition Resource Centre founder Joysanne Sidimus stepped down after twenty years and Amanda Hancox stepped across the hall from her former office as Director of Administration into the role of Executive Director – a transition in its own right. Hancox also has first-hand experience of life as a dancer.
Two minds, two bodies, and one piece of art. Vancouver-based Lee Su-Feh and David McIntosh have been creating work together for seven years through their company battery opera. After their latest work, [storm], they have decided to call it quits.
Dance preservation on the radar; Order of Canada honours dancers [James Kudelka; Peggy Baker]; Canadian Heritage gets new minister; New festival chosen for Montréal; Ballet school name debate settled; Enormous audiences for DanceWeekend; NDH welcomes new general manager; RWB wins touring award; Canadian dance publications; Touring beyond our borders
Is there a work or a collection of Canadian dance works that stand out as highlights to you from 2016? Are there any themes or ways of working that stand out to you as interesting or unique? We asked this question to dancers and dance enthusiasts from around the country and this was their reply.