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Reviews

Dance and Biology 

By Kathleen Smith Shared Habitat Festival of Art and Science 2  Shared Habitat Festival of Art and Science

Its always cause for celebration when artists look beyond their own navels for inspiration. 

Inspired Responses  

By Lindsay Zier-Vogel Series 8:08 Season Finale 2003  Series 8:08

Responses in poetry.

Setting IDAC In Motion 

By Paula Citron In Motion   Integrated Dance Artists Collective

In this expanded review, I hope that the enterprising young women of Integrated Dance Artists Collective (IDAC) won’t mind if I use them as an example for all groups on an inaugural run.

Language of Dance 

By Gregory C. Beatty Stream of Dance Festival  Stream of Dance Festival

Since its founding in 1986, New Dance Horizons has gained strength with each passing year. In 2002, it took its most ambitious step yet, organizing and presenting Stream of Dance, a three-day festival devoted to prairie dance.  

Liquid Memory 

By Lindsay Zier-Vogel Watermark: visible when held against light Michelle Silagy

A poetic response. 

 

Everything Except Time 

By Kaija Pepper Sheepman Dreams Kokoro Dance, Barbara Bourget, Jay Hirabayashi

Kokoro Dance’s “Sheepman Dreams” is an hour-long submersion into the deep, dark consciousness of a long sleep. The slow, earthbound movement traps the dancers and audience in its own unnaturally extended sense of time and space.  

 

Sleek Statements 

Reclusive Conclusions and other duets Tedd Robinson

The world premiere of Tedd Robinson’s production Reclusive Conclusions and other duets is definitely one of the highlights of dance in the nation’s capital this season. In a break from his self-labelled “reclusive existence” as a solo artist, the Ottawa-based Robinson choreographed three duets for himself and guest artists Mako Kawano, Louise Lecavalier and Margie Gillis. 

 

Deconstruct/Disconnect 

By Lindsay Zier-Vogel The King and Queen of Ruins, In Good Company Sasha Ivanochko, Lesandra Dodson, Shannon Cooney

Through short reviews and poetry, I have charted my experiences of DanceWorks’ double bill, The King and Queen of Ruins/In Good Company, performed at the duMaurier Theatre Centre in Toronto from March 13th-15th and featuring the work of choreographers Sasha Ivanochko, Lesandra Dodson and Shannon Cooney. 

 

Dancing, Death & Narcissism 

By Philip Szporer Monsieur Estelle Clareton

Estelle Clareton, one of Québec’s up-and-coming choreographers, sets up an inspired theatrical premise early on in her new work, “Monsieur”, the first in a planned triptych focussing on men.

 

Martial Arts Meets Sea Shanty 

By Kaija Pepper Cyclops battery opera, Lee Su-Feh, David McIntosh

“Cyclops” is a loose compilation of myths and imagery about the sea, created by battery opera co-directors Lee Su-Feh and David McIntosh.  

 

Blurred Bodies, Bionic Bodies 

By Philip Szporer Amelia Édouard Lock, La La La Human Steps

“Amelia” is one of the most anticipated dance productions of the season. After a much-ballyhoued European tour, and a stop in Ottawa at the National Arts Centre for the Canadian premiere, Édouard Lock’s La La La Human Steps opened the Festival Montréal En Lumière.

A (re)View of "Quest" 

Quest Byron Chief-Moon, Karen Jamieson

This review was submitted in response to the postings below by Lindsay Zier-Vogel, who is exploring the integration of poetry into her writing about dance. See this author’s response to Zier-Vogel’s writing under the “Of Wishes and Driftwood” link. 

 

A Personal View of Humanity 

Beauty Julia Sasso

Every so often an artist makes a definitive work – one that encapsulates his or her vision of the nature of humanity and the world. Such provocative works stimulate discussion that resonates beyond the particulars of the work itself. 

 

A Bazaar of Impressions 

By Philip Szporer Schatje George Stamos

George Stamos is the kind of choreographer that can’t make tidy dances, but that’s not to say he doesn’t use his material judiciously. In “Schatje” (the affectionate Dutch word “honey”, which, according to Stamos, is used by gays, prostitutes and drag queens), he’s feeding on club and strip joint behaviour in a theatrical setting, and everything and everyone is open to scrutiny – the manipulator and the manipulated, the subject/object and the viewer/viewed.

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