Proximity | Joshua Beamish/MOVETHECOMPANY | The Dance Centre, presented with PuSh International Performing Arts Festival | streaming online | February 25 – March 11, 2021
Watching dance on screen is a very different experience from watching it in person in a theatre. A recording of a performance on stage has to overcome that barrier of the screen mediating the experience, but a dance film that has been designed for the medium doesn’t struggle in the same way.
What happens when you take a series of stage directions and expand their meaning, interpret them in different ways, and translate that meaning into movement? In Body and Soul, Crystal Pite does just that, expanding meaning through movement and exploring the connection between words and movement as much as between bodies and souls.
Read more: Crystal Pite connects body and soul at the Paris Opera Ballet
A group of Canadian dance presenters has come together in response to COVID-19 to form Digidance, a new initiative that will present Canadian dance on the virtual stage. As presenters that often work together to build Canadian tours for both Canadian and international dance companies, DanceHouse (Vancouver), Harbourfront Centre (Toronto), the National Arts Centre (Ottawa), and Danse Danse (Montreal) are joining forces to ensure that Canadian dance remains strong and continues to reach audiences during the pandemic. As an embodied medium of expression that relies on live performance, dance has suffered a great deal due to the pandemic hindering our ability to gather.
Read more: Digidance launches with Canadian premiere of Crystal Pite’s Body and Soul
Dancing on the Edge 2020 | Firehall Arts Centre and streaming on YouTube | July 2 – 11, 2020
I hadn’t realized how much I missed sitting in a real theatre with other people, sharing the collective experience of watching live dance, until I saw Shay Kuebler’s M.O.I. – Momentum of Isolation at Dancing on the Edge. It was the only show presented in the Firehall Arts Centre theatre (and also streamed online), and it was a treat to see it in person. Featuring six solos developed in isolation, along with two dancers appearing in video, each was a unique piece that showcased the dancers’ strengths. The dancers may not have taken up much physical space, but their presence and intense emotional energy filled the theatre.
Read more: Online programming and physical distancing at a re-imagined Dancing on the Edge
Dança Sinfônica & Gira | Grupo Corpo | DanceHouse | Vancouver Playhouse | February 28 – 29, 2020
Brazil’s Grupo Corpo returned to DanceHouse for the third time with two pieces by company co-founder Rodrigo Pederneiras.
In Dança Sinfônica, created in 2015 for the company’s 40th anniversary, Pederneiras revisited works from the repertoire to synthesize them into something new. While it doesn’t contain any previous choreography, he explained during a pre-show talk, it does contain themes and ideas that have been previously explored along with some that were set aside.
Read more: Grupo Corpo return to DanceHouse with two compelling works
Ghost | Tentacle Tribe | The Cultch | February 12 – 15, 2020
In the silent darkness of the stage, six dancers breath as one. The lights come up and their energy is passed from one dancer to the next, a ripple that moves among them. Dressed in white and beige cargo pants or shorts with lace accents (by Rosalie Lemay), the ensemble dances to an evocative score full of catchy beats and clever compositions by Samuel Nadai. The group’s popping, locking, breaking and smooth melding of street and contemporary styles is their signature.
Unikkaaqtuat | Artcirq, The 7 Fingers and Taqqut Productions | DanceHouse and The Cultch | Vancouver Playhouse | January 22 – 25, 2020
Welcome to the north. Contemporary circus meets traditional Inuit stories in this beautiful, immersive celebration of culture and ritual.
A young boy wiles away the time in hospital by listening to a cassette of his grandma, an Inuit Elder, telling the Inuit founding myths. As he is transported into the stories, we’re immersed in his imagination, seeing the stories interpreted through acrobatic feats, stunning video projections (by Neil Christopher) and Inuktitut voiceover.
Read more: Traditional Inuit stories meet contemporary circus in Unikkaaqtuat
Hako | Ouro Collective | Dance in Vancouver | Scotiabank Dance Centre | November 24, 2019
A large, inflated symmetrical polyhedron hung above the audience as groovy R&B music played. We waited in anticipation until bright light bars began to pierce through the pitch black stage. The light bars pulsed and plashed in various patterns, matching the beat of the music, until they moved and it became clear that the dancers were holding them. As they manipulated the lights into new configurations, the light show grew more complex, gained speed, and dazzled us.
Read more: Ouro Collective present innovative new work at Dance in Vancouver
The Chutzpah! Festival is known for bringing world-renowned contemporary dance to Vancouver, and this year was no exception. Companies from Toronto, Italy, and Vancouver presented compelling works.
ProArteDanza | The 9th!
Toronto’s ProArteDanza presented their thrilling new interpretation of Beethoven’s Symphony No. 9. Over four distinct movements, the dancers’ energy and emotion was beautifully channelled into Roberto Campanella’s choreography that seemed perfectly paired with the music; a physical embodiment of the classic symphony. The first movement began with chairs scattered across the front of the stage, laying on their sides. Fluid group work, quick lifts, and skillful contact emphasized the dramatic tension in the music.
Still Reich | Focus Cia De Dança | Scotiabank Dance Centre | October 2 – 4, 2019
Impressive strength and precision. Emotional Depth. Breathtaking choreography. This Brazilian company led by Alex Neoral seems to have it all. In this ode to composer Steve Reich, the company presented four works set to Reich’s driving, energetic rhythms.
Read more: Focus Cia De Dança presents ode to composer Steve Reich
This selection of works from Bangarra Dance Theatre’s 30-year repertoire included nine pieces full of rich meaning and moving stories. The Australian company’s work celebrates the cultural heritage of Aboriginal and Torres Strait Islander people as they turn ritual and ceremony into beautiful, symbolic scenes.
Read more: Bangarra Dance Theatre infuses their work with 65,000 years of history and culture
Collaborative partnerships, genre fusions, and diversity highlight the 2019-2020 DanceHouse season, which is set to open with Bangarra Dance Theatre’s Spirit October 25-26. Bangarra, one of Australia’s leading Aboriginal and Torres Straight Islander dance companies, will present a selection of works from their 30-year history. Bangarra Dance Theatre is presented in partnership with Dancers of Damelahamid.
Chutzpah! Festival | Various venues | October 24 – November 24, 2019
The Chutzpah Festival, now part of the fall arts calendar instead of being scheduled in March, is back with their characteristic offering of world class contemporary dance spread over a month from October 24 to November 24.
Read more: Contemporary dance from Canada, the United States and Italy at Chutzpah! 2019
Manuel Liñán is a stunning, innovative performer. With his powerful rhythms, smooth transitions, and gender fluidity, he was a joy to watch alongside guitarist Manuel Valencia and singer David Carpio.
Every scrape, stamp, click, and tap was clear and precise. Every movement infused with determination and passion. Coupled with the evocative guitar and vocals, Liñán’s choreography is divided into a series of scenes, each one with a different arrangement of light tubes in a pattern on the stage.
Read more: Manuel Liñán's precision and gender fluidity make Baile De Autor a stunning production
@giselle | Joshua Beamish/MOVETHECOMPANY | Vancouver Playhouse | September 5 – 7, 2019
Social media and other digital communication technologies are supposed to make it easier and more efficient for us to connect with each other — but often those technologies become barriers to real, meaningful human interaction. That was the main theme of Joshua Beamish’s reimagined Giselle that has been updated for our digital age. The point was made too strongly, however, to the extent that the technology being represented became a barrier to emotional connection between the dancers and the audience.
@giselle | Joshua Beamish/MOVETHECOMPANY | Vancouver Playhouse | September 5 – 7, 2019
Giselle, a classical ballet first performed in 1841, has remained a staple of the canon. It is in the repertoire of countless ballet companies and is still performed all over the world. Giselle is a peasant girl who dies of a broken heart, and is later summoned by the Wilis, a group of supernatural women who all died of a broken heart and hate men so much that they dance them to death. The ballet has received criticism for its portrayal of women as dependent on a man’s love, but Joshua Beamish’s updated version promises to address this while setting it firmly in our time with motion-captured digital projections and characters interacting through social media.
Read more: Joshua Beamish updates Giselle for the digital age
Edge One: Dab Dance Project, Meredith Kalaman, Linnea Swan
South Korea’s Dab Dance Project returned to the Edge after last year’s trio, BOMBERMAN. This year’s First Abundance Society was an inventive piece with plenty of humour. Hoyeon Kim and Jungha Lim’s robotic interlocking movements were intricate and precise. Upstage was a potted fruit tree, and every so often they would pick a piece of fruit and shove it in their mouths in a show of gluttony.
Over 10 days, the Dancing on the Edge Festival (DOTE) presents an eclectic mix of local, national, and international choreographers along with many free and site-specific works. Dance fans on a budget can take in free shows in the Firehall Arts Centre courtyard, including Danse Carpe Diem from Montreal. Another opportunity to see them for free is at the Granville Island public market courtyard where they will present Ecoute pour voir, which is composed of simultaneous solos throughout the space. The dancers and spectators both wear headphones to hear specific music associated with one solo and they share in the experience of a piece of choreography.
At a warehouse on Georgia Street, former Ballet BC dancer Rachel Meyer presents Transverse Orientation, a piece described as being in between two allegories taken from the moth: metamorphosis and a mysterious source of distant guidance (light source that guides them).
Jolene Bailie/Gearshifting Performance Works from Winnipeg also presents a full-length work, Schemas, 1-5, and local artist Helen Walkley presents her full-length memoir, John danced by Josh Martin and Billy Marchenski.
Dab Dance Project of South Korea returns to the festival, this time with First Abundance Society focusing “on the fact that preparing for the future doesn’t guarantee a better quality of life.” As the program notes say, “as the boundaries between true and imagined paradise begin to blur, the realities of life and the accompanying work, fears and hopes begin to muddle utopia.”
In Edge Three, Brazil’s Experimentus Dance Company presents Dispositivo Móvel “about the disconnect between imposing government standards and reality in Brazilian cities, referring to the power relationships put forward by Michel Foucault and Giorgio Agamben.”
And there are many Canadian artists from at home and across the country presenting their original works, including Calgary’s Linnea Swan who brings a tounge-in-cheek response to Yvonne Rainer’s No Manifesto in Edge One; and Ballet BC dancer Kirsten Wicklund explores her choreographic voice in Afloat amidst the steam of my combustion in Edge Six.
With over 30 performances and over 20 choreographers, there are too many anticipated works to name them all but dance fans will surely find something to suit them with such a variety contemporary dance from experimental and works-in-progress to polished and virtuosic. That’s the beauty of the Edge.
The 19th edition of the Vancouver International Dance Festival lasted for a month, but many of the shows will stay with us much longer. This year’s festival featured an impressive diversity of choreographic styles, including many Indigenous voices. (My review of the festival’s Indigenous works can be found in the Summer 2019 issue of Dance International magazine.) Here, I focus on a few other productions that stood out.
Viva Momix | Momix | DanceHouse | Vancouver Playhouse April 12 – 13, 2019
Impressive acrobatics, innovative props, and a playful sense of humour make Moses Pendleton’s Viva Momix a spectacular show that goes from strength to strength. While there is no narrative or theme connecting all the acts, the pace, variety, and virtuosity of this “best of” collection of 17 numbers, covering more than three decades of work, was enough to keep the audience mesmerized.
Read more: Viva Momix showcases the best of Momix's innovative repertoire
Hieronymus Bosch: The Garden of Earthly Delights | Compagnie Marie Chouinard | DanceHouse | Vancouver Playhouse | March 15-16, 2019
If there’s any dance company in the world that Hieronymus Bosch’s 500-year-old painting was made for, it’s Compagnie Marie Chouinard. Chouinard’s trademark nude forms have earned her a reputation as a bold choreographer whose works range from idyllic to sinister.
Cuba Vibra! | Lizt Alfonso Dance Cuba | Massey Theatre | March 8, 2019
Vibrant colours; live music; and the rhythms and passion of Cuba. Lizt Alfonso Dance Cuba fills the stage with dynamic energy and soulful music. Their enthusiasm is infectious, and the colourful, ever-changing costumes added to the effusive personalities on stage.
Revisor | Kidd Pivot | DanceHouse | Vancouver Playhouse | February 20 – 23, 2019 | Canadian tour: Ottawa, Feb 27 – March 2, NAC Theatre; Toronto, March 7 – 10, 13 – 16, Canadian Stage; Montreal, April 3 – 6, Dance Danse
There are many standout lines in Revisor, Crystal Pite and Jonathon Young’s innovative dance-theatre hybrid, but the one that has stuck with me is also an apt summation of its theme: “I’m here to move a comma.”
In this tale of mistaken identity, corruption, and abuse of power based on Nikolai Gogol’s The Inspector General (Revizor in the original Russian), a commoner is mistaken as the “Revisor” (Tiffany Tregarthen) who has been sent “from head office” to investigate a political leader.
Read more: Revisor explores the relationship between movement and meaning
Man | Solvi Edvardsen in collaboration with Sudesh Adhana | New Works | The Annex | February 1, 2019
As the last stop on their cross-Canada tour, Norwegian choreographer Solvi Edvardsen and collaborator Sudesh Adhana brought the captivating solo show Man to Vancouver. Performed by Adhana, the piece features a small, square metal stool, talcum powder, and precise, strong movements.
Read more: Sudesh Adhana is striking in Solvi Edvardsen's Man
In a satin robe, flashy costume jewellery, and bright red lipstick, Jacob Boehme warmly welcomes the audience as we arrive at the theatre. His drag queen persona sits in the aisle for a few minutes, telling us about the many funerals during the AIDS epidemic. The persona is short-lived, though, as he soon de-robes and descends to the stage to tell us his story.
Read more: Jacob Boehme is vulnerable, captivating in Blood on the Dance Floor
Attractor – DanceNorth Australia
Seated on a semi-circle of stools, the eight dancers move slowly, robotically. Gradually their movement build as they get up, the Javanese musical duo, Senyawa, providing loud accompaniment with their handmade, electric stringed instruments.
The dancers’ trance-like state renders their movement as pure dance, the artists channeling their own interpretation and allowing the movement to flow through them, free from artifice and extrinsic influences and without any concern for connecting with the audience in a traditional sense.
With a whole month of programming and 45 performances, including 17 free shows and 23 free dance classes, the 19th edition of the Vancouver International Dance Festival brings local, national, and international dance to the stage throughout March. The amount of free programming is impressive, and this year’s focus on Indigenous artists will offer audiences diverse perspectives and varied choreographic and storytelling styles.
Read more: Indigenous voices will be the focus at the 19th Vancouver International Dance Festival
This Duet That We’ve Already Done (so many times) | Frédérick Gravel | The Cultch | November 27 – December 1, 2018
Frédérick Gravel and Brianna Lombardo stroll casually around the stage, warming up, preparing their many pairs of shoes, and queuing up music on an iPad as the audience comes into the theatre to take their seats. They maintain this nonchalant air throughout the duet. It’s not that they act as if the audience isn’t there — there are a few moments where they make deliberate and sustained eye contact with us — but for the most part they act as if they are indifferent to our presence.
Read more: Sparks fly in Frédérick Gravel's This Duet That We've Already Done
Borderline | Company Wang Ramirez | DanceHouse | Vancouver Playhouse | October 26 – 27, 2018
Giant cubes, gravity defying rigging, and an amazing fusion of contemporary and street dance: the six artists of Company Wang Ramirez were physically virtuosic and emotionally intense.
Swiftly moving from daring breakdance solos to nuanced contemporary duets and layered group sequences, there was an abundance of information to unpack in each segment. A voiceover talked of democracy, capitalism, and inequality during Sebastien Ramirez’s emotionally dense solo.
Read more: Company Wang Ramirez's work lives on the borderline
Joe: A Solo Show | JOE INK. | Scotiabank Dance Centre | October 18 – 20, 2018
Three choreographers, three solos, one Joe Laughlin. Each of these solos reflected the distinct style of its creator while allowing Laughlin to show off his versatility as a performer.
At stage right was a small dressing room area where Laughlin paused between solos and sat in contemplation as voiceovers of conversations with his collaborators filled the space. These conversations were integral to binding the three pieces together while allowing us into the creative process.
Read more: Joe Laughlin's versatility and emotional depth on display in Joe: A Solo Show
#Tapdance | Vancouver International Tap Dance Festival | Orpheum Annex | August 25, 2018
Legendary tales, joyful tears, and incredible #tapdance: this was an emotional show dedicated to all the mentors who made these dancers who they are today. Travis Knights directed this evening of storytelling through both words and movement, and he was joined by fellow tappers Heather Cornell, Sarah Reich, Matt Shields, and Alex Clancy as well as an live band featuring drummer Nick Fraser.
As the longest-running contemporary dance festival in Canada, Dancing on the Edge (DOTE) has spent the last three decades presenting an array of innovative and daring contemporary dance works from local, national, and international dance artists. This milestone year was no exception, and here is the best of this year’s fest.
Read more: Best of the Fest: Dancing on the Edge turns 30, remains cutting edge
Second Nature | Aeriosa | Scotiabank Dance Centre | May 24 – 26, 2018
We hear the bamboo before we see it. In the dark theatre, bamboo stalks are tapped and brushed on the stage. As the lights come up, long bamboo swings from the ceiling. In tight, feathered costumes (by Ninon Parent), the dancers slowly emerge and begin lunging and crawling among the bamboo, careful not to displace it.
Read more: Dancers soar among the bamboo in Aeriosa's Second Nature
Contes Cruels | Les Productions Figlio | Firehall Arts Centre | May 23 – 26, 2018
Love and death: two absolutes represented beautifully through poetry and dance in Contes Cruels. Choreographer Serge Bennathan shares the stage with Josh Martin, Hilary Maxwell, Molly McDermott, and Katie Lowen in this deeply introspective exploration of the sweeping themes of love and death.
Read more: Serge Bennathan's Contes Cruels overflows with emotional energy
Sandwiched between two works that Ballet BC first presented in 2016 was a beautiful new work by Artistic Director Emily Molnar: when you left. In collaboration with the Phoenix Chamber Choir and conductor Graeme Langager, Molnar has created a thoughtful work with its own universe and a distinct tone and atmosphere.
Jungle Blues, Three to One, Myelination | Dorrance Dance | Dance House | Vancouver Playhouse | April 13 and 14, 2018
This is tap dance like you’ve never seen it before. With effortless cool, the dancers of Dorrance Dance presented an evening of awe-inspiring contemporary tap.
Read more: Dorrance Dance presented triple bill of awe-inspiring contemporary tap
Che Malambo | Caravan World Rhythms | Queen Elizabeth Theatre | April 11, 2018
The closest comparison I have is Riverdance. Che Malambo is like a South American Riverdance — only with more shouting, more duelling, and much more testosterone. This all-male company from Argentina presented an exciting, percussive blend of dance and drumming that had the audience out of their seats and cheering as soon as the curtain came down.
Read more: Che Malambo is an all-male rhythmic spectacle of dance and drumming
Hardly Ever | WEE/Francesco Scavetta | Scotiabank Dance Centre| April 5 – 7, 2018
Wow. The dancers repeat the word as they enter the stage and explore their new surroundings. On the left side of the stage, a couch, record player, and wallpapered backdrop create a living room, while the right side of the stage is covered in brown paper. As the dancers shuffle around on the papered stage and playfully try out different movements, they continue to say “wow,” in awe of everything.
Read more: Francesco Scavetta's Hardly Ever encourages us to take a second look at our surroundings
Vancouver International Dance Festival | various venues | March 1 – 24, 2018
After another year of varied local and international dance, the Vancouver International Dance Festival has left us with much to ponder as we wait for next year’s offerings. From Vancouver’s Amber Funk Barton and EDAM to Québec’s Lucie Grégoire and New York’s Shen Wei Dance Arts and White Wave Dance, there was so much inspiration to be found on the VIDF stages.
Read more: In Review: 2018 Vancouver International Dance Festival
Honouring the late dancer Lisa Nemetz, the Chutzpah! Festival always puts a large emphasis on their dance programming, and it pays off. This year’s festival brought another impressive selection of dance companies from the United States, Israel, Italy, and Bulgaria. The offerings began on the energetic, lighthearted side and ended with a more abstract, weighty double bill.
It’s not often that contemporary dance audiences are able to see works remounted. This House Mix was a retrospective of five pieces by Christopher House, Artistic Director of Toronto Dance Theatre (TDT). Celebrating its 50th anniversary this year, TDT visited Vancouver as part of an 11-city Canadian tour.
Read more: Toronto Dance Theatre remounts five works for 50th anniversary season
Romeo + Juliet | Ballet BC | Medhi Walerski | Queen Elizabeth Theatre | Feb 21 – 24, 2018
Montagues and Capulets; love and hate; day and night. Medhi Walerski presents the dualities of Shakespeare’s timeless tale with his contemporary Romeo + Juliet. With an expanded cast including Arts Umbrella dancers, this is a larger than life tale of young love and family loyalty. Ballet BC audiences have previously seen Walerski’s Petite Cérémonie, Prelude and Natus.
Read more: Ballet BC premieres Walerski's contemporary Romeo + Juliet
Presenting both local and international talent on Vancouver stages, the Vancouver International Dance Festival (VIDF) returns for a three-week festival of performances, workshops, and other activities.
Three Canadian premieres are highlights of the festival: New York’s contemporary company White Wave Dance, Mexico’s Compañía de Danza Experimental de Lola Lince, and Hungary’s Ferenc Fehér. New York’s Shen Wei Dance Arts appears in their western Canadian premiere, along with a West Coast premiere from Montreal’s Lucie Grégoire Danse. Local choreographer Amber Funk Barton/the response. Will present a world premiere. Read on for a list of all the enriching performances on offer at VIDF.
The Eternal Tides | Legend Lin Dance Theatre | PuSh International Performing Arts Festival | Queen Elizabeth Theatre | February 3, 2018
Covering sweeping eternal themes of love, war, rebirth, and the passage of time, Taiwanese choreographer Lin Lee-Chen has created a meditative and monumental work with The Eternal Tides. At two hours and 15 minutes, with no intermission, it was an intense immersion into this often slow, deliberate style of dance that is so different from anything we tend to see on our stages.
Read more: PuSh 2018: The Eternal Tides - Legend Lin Dance Theatre
The stage is dark, silent. The audience sits in anticipation. There are shrill notes of urgency coming from dancer Paige Culley. We can sense her pacing in the darkness. Suddenly the lights are blinding and Culley stands at the front of the stage staring directly at us, confronting us in jeans and nothing else.
Meeting | PuSh International Performing Arts Festival | Performance Works | January 24 – 27, 2018
Mysterious, precise, methodical. Australia’s Antony Hamilton and Alisdair Macindoe have created a dance piece that accompanies 64 robotic percussion instruments.
Arranged in a circle, the small wooden blocks with pencils that tap the floor create a staccato rhythm that drives their movements. Remaining within the small circle, the two men move like clockwork to the tic toc of the gadgets, each motion precipitating the next in a kind of domino effect.
Romeo + Juliet | Ballet BC | Queen Elizabeth Theatre | February 21 – 24, 2018
French choreographer Medhi Walerski is a Ballet BC regular. The company has performed his Petite Cérémonie, Prelude and Natus, and all were instantly popular with audiences. He returns for a full-length commission, Romeo + Juliet. Due to popular demand, a special preview performance was added before the three-night run.
Read more: Ballet BC presents a contemporary take on Romeo + Juliet
The 18th edition of the Chutzpah! Festival brings a highly anticipated dance series, bold theatrical works, virtuosic musicians, and uproarious comedy from near and far to Vancouver stages. The highlight of the festival is the extraordinary contemporary dance on offer.
Daniel Ezralow’s Ezralow Dance will present the Canadian premiere of OPEN. Ezralow’s choreography credits are impressive: Julie Taymor’s film Across the Universe, Cirque du Soleil’s Love, the opening ceremony of the 2014 Winter Olympics in Sochi, Paris Opera Ballet, and music videos for artists such as Sting, U2, and David Bowie. OPEN is a playful, humorous work that includes provocative ideas, striking visuals, and a striking classical score.
Read more: Chutzpah! Festival brings world-class dance, theatre, music, and comedy to Vancouver
Piece for Person and Ghetto Blaster | Nicola Gunn | PuSh International Performing Arts Festival and The Dance Centre | Scotiabank Dance Centre | January 17 – 19, 2018
If you saw a stranger throwing stones at a duck, what would you do? What is the right response to have? Should you intervene or just ignore him and go home to write a scathing post about him on Facebook? Nicola Gunn had an experience like this when she was in Belgium and it had such a large effect on her that she turned that event into a dance piece about morality, philosophy, and the politics of intervention.
Read more: PuSh 2018: Piece for Person and Ghetto Blaster - Nicola Gunn
Some Hope for the Bastards | Frédérick Gravel | PuSh International Performing Arts Festival | Vancouver Playhouse | January 16, 2018
Frédérick Gravel’s dance works overflow with contemporary cool. The dancers pose nonchalantly onstage, drinking Coronas, as the audience takes their seats. They look like they haven’t a care in the world and like they’re too cool to do anything conventional or expected. This was confirmed right off the bat as one of the dancers gradually manoeuvered himself to be hanging off the stage, one foot balancing on an arm rest. Set to live rock music, also by Gravel, the nine dancers beautifully translated the music into movement.
Read more: PuSh 2018: Some Hope for the Bastards - Frédérick Gravel
Wells Hill | Action at a Distance | Presented by Dance House, Woodward’s Cultural Programs, and SFU School for the Contemporary Arts | Goldcorp Centre for the Arts | November 23-26, 2017
“Art is anything you can get away with,” attributed to Marshall McLuhan, flashes on the screen at the back of the stage. This is followed by more of his words: “All media work us over completely.” These concepts set the tone for a highly intellectual study of the work and philosophies of McLuhan and his friend, composer Glenn Gould.
Eight Years of Silence by Cayetano Soto and B.R.I.S.A. by Johan Inger | Ballet BC | Queen Elizabeth Theatre | November 2 – 4, 2017
Ballet BC resident choreographer Cayetano Soto has transformed his fears into beautiful movement. As he explains in an interview included in the performance’s program, he looked back on a period of his life where he held many doubts and fear and put them to rest by creating this piece of choreography.
Read more: Ballet BC's resident choreographer presents world premiere
Morphed | Tero Saarinen Company | Dance House | Vancouver Playhouse | October 27 & 28, 2017
Tero Saarinen, a former member of the Finnish National Ballet, began his physical training as a hockey player and gymnast. His father took him to his first dance class and he fell in love with the art form. Saarinen explained during a pre-show chat that Morphed is a commentary on masculinity that explores how men can be sensitive, fragile, and sensual while also being strong.
Read more: Tero Saarinen's Morphed explores facets of masculinity
Hasta Dónde…? and All Ways | Compañía Sharon Fridman | Scotiabank Dance Centre | October 12-14, 2017
Israli Choreographer Sharon Fridman brought his richly textured choreography to the Dance Centre, and we were in for a special treat as he decided to present Hasta Dónde…? with live musical accompaniment for the first time. The duet was a moving piece full of tension and precise control between two men who struggle against each other yet work with each other at the same time. Their contact and control was impressive as they moved through a series of lifts. Full of emotional depth and dynamic shifts in tone, this was an extremely beautiful piece.
Read more: Compañía Sharon Fridman - Hasta Dónde…? and All Ways
In Feasting on Famine, Shay Kuebler explores the fine line between passion and obsession. This contemporary dance piece is like a marathon of body building vignettes showing the highs and lows of the business. Kuebler has bulked up a fair amount in preparation for this piece, which is a full-length version of his performance at the 2015 Dancing on the Edge Festival, and it both showcases his physical prowess and critiques the fitness industry.
Read more: Shay Kuebler tackles the body building industry in Feasting on Famine
With youthful zeal and contemporary charm, Fin de Fiesta brings the energy and excitement of the open jam session at the end of a flamenco show to their entire performance. The troupe, based in Seville, features both Canadian and international artists in a collaborative partnership. Their show was a passionate display of both music and dance that was bursting with energy.
For 27 years, Flamenco Rosario has been bringing together local and international artists for an annual celebration of the music and movement of flamenco. This year’s Vancouver International Flamenco Festival from September 11 to 24 features Spain’s La Moneta in the headlining performance on September 23 at the Playhouse.
Read more: Flamenco festival brings international stars to Vancouver
Oath-Midnight Rain | Beijing Modern Dance Company
A bird, a fish, a mosquito, a blade of grass, and a flower make their way into the audience. One woman is in tears; she has been so moved by their performance. The mosquito gives her a long hug. Beijing Modern Dance Company presented their philosophical work of reincarnation and liminal midnight transition to a rapt audience. Choreographer Gao Yanjinzi explained that the show was about what happens after death, where we go, and how we could be reborn.
Read more: Animal interpretations, contemporary assortments, and No Fun: Dancing on the Edge 2017
Always celebrating the best in local and Canadian contemporary dance, Dancing on the Edge returns for a 29th year to present a unique program of innovative new works from near and far. The festival predominantly features local and Canadian artists, with a special presentation from the Beijing Modern Dance Company to open the festival. With so much on the program, it may be hard to know which shows to check out. This list provides just a taste of what the festival has to offer; we hope it helps you find the perfect show for you.
Read more: Dancing on the Edge is back with the best of contemporary dance
birds sing a pretty song. | Created and directed by Maxx Berkowitz and Rebecca Margolick | Chutzpah!PLUS | Norman Rothstein Theatre | May 13 – 14, 2017
In this work which premiered only a week prior in New York City, Rebecca Margolick (a Vancouverite now based in NYC) has choreographed a visceral duet for herself and Chuck Wilt while also creating a dialogue between the dancers and two onstage musicians.
Direct from Spain, Ivan Vargas Heredia and Emilio Ochando meet centre stage in a duel of fancy footwork and fiery passion. Kasandra “La China” performs a subtle, evocative solo that ends with the two men meeting her on stage and all three present a frenzied interplay of emotion to open La Tarara.
Program 3 | Ballet BC | Emanuel Gat, Emily Molnar, Ohad Naharin | May 11 - 13, 2017
Lately it seems that everywhere you look contemporary Israeli choreographers are presenting new works with major dance companies. Ballet BC is no exception as they presented a new work by Emanuel Gat, Lock, as well as a compilation piece, Minus 16, by the famed “Gaga” innovator, Ohad Naharin. Also on the bill was a piece by artistic director Emily Molnar that was created for a National Arts Centre commission of new Canadian ballet and music creations called ENCOUNT3RS. Keep Driving, I’m Dreaming had its premiere in Ottawa in April.
Read more: Ballet BC closes season with contemporary triple bill
Ce que le jour doit à la nuit | Compagnie Hervé KOUBI | DanceHouse | Vancouver Playhouse | April 7 – 8, 2017
At 25 years old, Hervé Koubi found out that his parents were Algerian immigrants to France. His Algerian heritage had been hidden his whole life, and once he found out, he felt the need to go to Algeria and see where his family came from. While there he was introduced to the novel Ce que le jour doit à la nuit (What the day owes to the night) by Yasmina Khadra. Although the choreography is unrelated to the story of the novel, Koubi loved the title and all its possible metaphorical meanings so much that it stuck with him and became the title of this work that he began creating while in Algeria.
After the Curtain | Travis Wall’s Shaping Sound | Queen Elizabeth Theatre | March 25, 2017
After the Curtain was is its own mystical fantasy world of glamourous twenties style, effortless coolness, and endlessly enticing movement. Wall took the stage, sitting at a typewriter in a dressing room as he began to type “This may be my last chance to tell the truth about what happened.” He tells us that his name is Vincent, and he lives in his head where it is no longer safe. His alter-ego, Jude, sometimes takes over.
Light Breaking Broken | Jamieson/Grenier | Vancouver International Dance Festival | Woodward’s Production Studio | March 23 – 25, 2017
Karen Jamieson and Margaret Grenier presented a preview of this collaboration at last year’s Coastal First Nations Dance Festival. Their goal with Light Breaking Broken was to bridge a cultural divide and push each other to grow as artists and individuals.
Read more: VIDF 2017: Light Breaking Broken - Jamieson/Grenier
Death and Flying | Rob/Jane/Kim | Vancouver International Dance Festival | Roundhouse Exhibition Hall | March 16 – 18, 2017
We attach our memories of loved ones to things such as places, objects, gestures, and smells. In Death and Flying, Jane Osborne and Kim Stevenson perform a piece based on their personal memories, choreographed in collaboration with Rob Kitsos.
Moving to a recording of their own voices describing the objects and memories they cherish, Osborne and Stevenson sometimes mouthed along to the words, emphasizing the importance of those moments and descriptions. All the while, they were translating the story into movement. One thing Osborne talks about is her father’s red serge from his time in the RCMP, and Stevenson describes her mother’s dishes that she enjoys entertaining with, carrying on a tradition.
Back for the second year in a row, Montreal’s Virginie Brunelle brought another bold, visceral work to the Vancouver International Dance Festival. Last year she presented an intense work about lost love, and this year’s piece shared a similar sense of anguish and heartbreak, but featured six dancers and involved a more developed narrative, with dramaturgy provided by Stéphanie Jasmin.
Read more: VIDF 2017: A la douleur que j'ai - Compagnie Virginie Brunelle
Program 2 | Ballet BC | Queen Elizabeth Theatre | March 16 – 18, 2017
This evening featuring choreographers from British Columbia was in honour of Canada’s 150th anniversary, but other than the choreographers being Canadian and representing Canadian dance abroad, there was little connection between the theme and the four works presented. That’s not to say that the works were not worthy of inclusion, but they could have been placed on any mixed bill.
Read more: Ballet BC's Program 2 celebrates Canada 150 with BC choreographers
Dearest Home excerpt; The Quiet Dance; The Gettin’ | Kyle Abraham / Abraham.In.Motion | Chutzpah! Festival 2017 | Norman and Annette Rothstein Theatre | March 11 – 13, 2017
New York’s Kyle Abraham brought his refreshing contemporary choreography to Vancouver with a mixed bill of three works that all displayed his distinct subtlety based in deep human emotion. Fusing hip-hop, jazz, and modern dance styles, his work is distinct and impressive.
Read more: Chutzpah! Fest 2017: Kyle Abraham / Abraham.In.Motion
Carmina Burana – Spellbound Contemporary Ballet | Chutzpah! Festival 2017 | Norman and Annette Rothstein Theatre | March 4 – 6, 2017
After their memorable Chutzpah! debut last year, Italy’s Spellbound Contemporary Ballet was back for their North American premiere of Carmina Burana choreographed by Artistic Director Mauro Astolfi.
Nine dancers scramble on, over, and under a large wooden table. Some dancers lift one end of the table as others roll off. With the table standing on end, a couple of them climb up it with ease. It’s fast paced, exciting, and very creative. The dark lighting, opera music, and grey dresses with red crosses created a medieval, foreboding feeling.
Read more: Chutzpah! Fest 2017: Carmina Burana - Spellbound Contemporary Ballet
In Penumbra | Kinesis Dance Somatheatro | Vancouver International Dance Festival | Scotiabank Dance Centre | March 1 – 4, 2017
When you’re given a pair of sunglasses upon entering the theatre, you know you’re in for a unique experience. In Penumbra was unlike any dance or multimedia show I’ve seen, with bright lights and lighting fixtures everywhere, seating in the round, and an otherworldly aura about the whole thing.
Read more: VIDF 2017: In Penumbra - Kinesis Dance Somatheatro
am a | Amber Funk Barton and Mindy Parfitt | The Cultch’s Vancity Culture Lab | February 21 – March 4, 2017
A dancer learns to use her voice. A theatre artist learns to dance. Together, they demonstrate what they have learned about neuroplasticity.
Amber Funk Barton and Mindy Parfitt greeted us as we came into the theatre and asked us to put our belongings at our seat and then join them on stage. On the crowded stage Funk Barton taught us the Electric Slide line dance and sent us back to our seats. Later in the show, we were asked to do a visualization of the dance we learned, and they explained that this method of repetition is just as effective in learning a new skill. It seems that, as far as our brains are concerned, thinking about doing something can be the same as actually doing it.
Read more: Am A - Amber Funk Barton and Mindy Parfitt present their show about neuroplasticity
4Men, Alice, Bach and the Deer | Yossi Berg & Oded Graf Dance Theatre | Chutzpah! Festival 2017 | Norman and Annette Rothstein Theatre | February 25 – 27, 2017
A life-size deer sculpture sat on stage to greet us as we took our seats. Wearing Mexican wrestling masks and suits with patterned button down shirts, four men take the stage and stand in a line facing the deer, doing the cha-cha. If it sounds strange, that’s because it is. But amidst the strangeness, there was some interesting commentary about masculinity.
Louis Robitaille’s world renowned touring company Les Ballets Jazz de Montreal (BJM) returned to Vancouver after four years to present three stunning works. Always full of dynamic energy and working with innovative contemporary choreographers, BJM puts on an exciting show.
Read more: Dance House presents energetic triple bill from Les Ballets Jazz de Montreal
Telemetry | Shay Kuebler / Radical System Art | Chutzpah! Festival 2017 | Norman and Annette Rothstein Theatre | February 18 – 21, 2017
At last year’s Chutzpah! Festival, Shay Kuebler presented Telemetry as a work in progress. This year, after a second residency with Chutzpah!, he presented the full-length work. This time, the tap stylings of Danny Nielson were incorporated throughout, and the choreography was even more bold, determined, and relentless.
The show began with a tap solo from Neilson at the front of the stage, showing off his rhythm and smooth moves as his tapping activated lights at the edge of the stage. These lights along with the white motion activated surface of the stage that displayed shadows and interesting patterns gave the show a futuristic feel and it was nice to see more of that incorporated as well.
Read more: Chutzpah! Fest 2017: Telemetry - Shay Kuebler Radical System Art
empty.swimming.pool | Tara Cheyenne Performance and Silvia Gribaudi | Chutzpah! Festival and The Dance Centre | February 16, 2017
Tara Cheyenne Friedenberg doesn’t simply choreograph movement, she choreographs characters. There is a subtle humour to everything in empty.swimming.pool — so subtle that many audience members didn’t seem to find the piece funny at all, and a few left early.
Gribaudi tentatively emerged from the wings, silently looked at the audience, and retreated. Friedenberg peeked out from the other side, appraised the situation, and returned to the wings. The humour of this repetitive action continued as they stood awkwardly posing, still unsure of themselves and began speaking in umms and ehs, while communicating through facial expressions.
Read more: Chutzpah! Fest 2017: Tara Cheyenne Performance and Silvia Gribaudi
FOLK-S, Will You Still Love Me Tomorrow? | Alessandro Sciarroni | February 2, 2017 | Scotiabank Dance Centre
In partnership with the PuSh International Performing Arts Festival and Il Centro Italian Cultural Centre
The show seems to have already begun as we take our seats. Six dancers stand in a circle on the dark stage, tapping their feet in synchronized rhythm. It takes a few moments to notice that they are blindfolded. They are creating musical accompaniment for their movements, using their other senses to keep time. Slowly the crowd grows quiet and the dancers’ feet become louder on the stage, the rhythm seeming to pick up speed.
Read more: PuSh 2017: FOLK-S, Will You Still Love Me Tomorrow?
Sweat Baby Sweat | Jan Martens | PuSh International Performing Arts Festival and The Dance Centre | January 26, 2017
After what seems like an eternity of slow motion contortion and sexual tension, two dancers, wearing only their undergarments, finally kiss. The kiss goes on for what feels like forever as they continue to slowly climb on each other, lift each other, and lay each other down with extreme muscular endurance and strength.
The impressive feats of Kimmy Ligtvoet and Steven Michel evolved over the course of Jan Martens’ Sweat Baby Sweat as they used their weight to balance each other and slowly shift their positions.
Read more: PuSh 2017: Sweat Baby Sweat shows the tension and balance of a modern relationship
Les Ballets Trockadero de Monte Carlo | January 20 and 21, 2017 | Queen Elizabeth Theatre
For any ballet fan, this show provides endless humour coupled with impressive talent; for the uninitiated, it is just as entertaining. From the hilarious character names like Helen Highwaters and Tatiana Youbetyabootskaya to the excellent spoofs of well-known ballets, this all male troupe dancing en pointe knows how to entertain and impress.
Read more: Les Ballets Trockadero de Monte Carlo entertain and impress
All Hell is Breaking Loose, Honey | Frédérick Gravel
November 8 – 12, 2016 | The Cultch
Frédérick Gravel, Nicolas Cantin, Tomas Furey, Dany Desjardins
Frédérick Gravel has a way of creating shows that are such a complete blend of theatre and dance that you can’t classify them in either category. At the 2016 Dancing on the Edge festival, his show Thus Spoke, was immediately endearing, bold, and like nothing I’d ever seen. Speaking directly to the audience in a wry, self-deprecating and extremely humorous manner seems to be his trademark, as he does so in both shows to great effect.
Read more: Frédérick Gravel's All Hell is Breaking Loose, Honey
Albatross is coming to the Firehall Arts Centre December 7 – 10, 2016
International dance festivals such as Vienna’s Impulstanz are not only places for displays of innovation and choreography that pushes the boundaries of the art form, but they can also be the place where international collaborations begin. Josh Martin and Hilary Maxwell of Vancouver’s Company 605 took part in Impulstanz in 2010 and it was there they met German Jauregui. Years later they approached him to choreograph a duet with them, and Albatross began.
Jauregui, a Brussels-based choreographer and member of the renowned Ultima Vez company, came to Vancouver for the first time in June 2016 to begin work on Albatross. “In the beginning we had just a few weeks — to get to know each other,” said Jauregui. “It was a slow beginning getting to know each other, to explore ideas. Then the material started to develop. The first time you meet someone you need to understand how they move, how they digest material in the context of the creative process. We’re always getting to know each other through the work.”
Read more: Company 605 teams up with German Jauregui for Albatross
Ballet BC | Program 1
November 3 – 5, 2016 | Queen Elizabeth Theatre
Beginning After, Fugaz, Sortijas, and Schachmatt by Cayetano Soto
Ballet BC doesn’t usually show an entire evening of work by only one choreographer, but Cayetano Soto, as resident choreographer since last season, has created two world premieres for the company that were accompanied by two Canadian premieres of his work. Although he has a distinct style that links all the work, it was nice to see this range of pieces, some dark and gothic, others humorous and light. Quoted in the program, Soto likens choreography to architecture, saying that “the more complicated it gets, the more beautiful it becomes.”
Jessica Lang Dance | Dance House
October 28 & 29 | Vancouver Playhouse
Two lines of dancers criss-cross each other in perfect unison, creating bold lines and precise patterns amidst a Mondrian-inspired set. Jessica Lang’s intricate choreography is impressive right from the first moment these dancers take the stage. The five works on this Dance House program demonstrated Lang’s range and immense skill as an artist, and I was blown away by her work. This was the Canadian premiere of New York’s Jessica Lang Dance company, led by Lang who is an accomplished freelance choreographer who works with companies such as American Ballet Theatre and Birmingham Royal Ballet.
Out Innerspace Dance Theatre – Major Motion Picture
October 12 – 15, 2016 | Firehall Arts Centre
A gang of dancers clad in all black moved seamlessly across the stage. Another gang in striped patchwork onesies aggressively tried to gain ground and takeover the space. Meanwhile surveillance cameras watched their every move and projected the images onto a screen at the back of the stage.
There was never a dull moment in this cinematic show featuring seven dancers in constant motion. Co-Artistic Directors and choreographers David Raymond and Tiffany Tregarthen have created a multi-layered work that brims with urgency and an ominous tone.
Read more: Major Motion Picture - Out Innerspace Dance Theatre
Mercedes Amaya Company and ¡Arte! Flamenco The concentration; the passion; the rhythm. It never ceases to amaze me when I attend a flamenco show. These two companies, while not the best I’ve seen at this festival, still wowed with fiery footwork and a beautiful melding of music and movement.
¡Arte! Flamenco performed De Cal, Canto y Arena (Of Salt, Song and Sand) that emphasizes the relationship among the guitar (salt), song (the voice of the singer onstage), and the sand (representing the dancer’s movements). The piece began with Kari Alba letting sand fall through her fingers, the sound of it hitting the stage mingling with the pensive guitar at the back of the stage.
Dancing on the Edge wraps up an impressive 28th yearThis year’s festival was as dynamic as ever, with more of a focus on local choreographers along with a few visitors from elsewhere.
Jennifer Mascall, who has been involved in the festival every year but one since it began, presented her new full length work, The Outliner, at St. Paul’s Church. The audience was seated on rolling pews that were moved around the space by many stage hands. For each segment of the show we were seated with a different perspective of the stage, and this was such a simple yet effective way to make the performance even more dynamic.
Ballet BC dancers have a long history of appearing in Dances for a Small Stage shows. Peter Smida, Maggie Ferguson, and Makaila Wallace, among others, have graced the small stage, but this is the second time the two companies have formally collaborated on a show. In 2010, just after Emily Molnar had taken over Ballet BC, she connected with others in the dance community, including Small Stage artistic producer, Julie-anne Saroyan, and their companies joined forces for the first time.
This time, the dancers are together as an ensemble, choreographing works on each other and driving the creative process and vision of the show. “The first one was more presentational, but this show is coming from the dancers,” said Saroyan. Among the pairings are SFU dance alumna Vanessa Goodman who is choreographing a work on Ballet BC dancers Gilbert Small and Christoph von Riedemann.
Read more: Small Stage and Ballet BC join forces June 23-25 in Deer Lake Park
Just Words – Les Productions FiglioSerge Bennathan steps to the front of the Firehall stage, a spotlight on him as he picks up a sheet of paper. He reads off a letter that he wrote to fellow choreographer and dance artist Grant Strate who passed away in 2015. The letter shows his respect for Strate as he says “we need your grace” as well as his thoughts on the importance of dance as an art form.
In personal, reflective interludes, Bennathan spoke directly to the audience and shared parts of his life, his experience as an immigrant, his desire to write a blog, to choreograph chaos, and he even shared an original poem with us. His words coloured the choreography as Karissa Barry and Hilary Maxwell translated the words into dance. Aside from directing his Vancouver-based dance company, Les Productions Figlio, Bennathan is also a writer and painter, and with this latest work he wanted to express himself through words and speak poetically. The love poem he shared with us, in French and then in English, was full of beautiful imagery and romantic tension.
Read more: Serge bennathan's Just Words melds poetry and dance
The all-male Les Ballets Trockadero de Monte Carlo will perform in Vancouver for the first time since 1985.By: Tessa Perkins
First published in The Peak.
What would have once only been considered fodder for variety shows or slapstick comedy, men dancing en pointe has become big business for Les Ballets Trockadero de Monte Carlo. The all-male ballet company was founded in New York in 1974, and has performed in over 500 cities worldwide since.
Read more: Keep on Trockin': men in pointe shoes are coming to Vancouver
November 6 – 8, Queen Elizabeth Theatre
By: Tessa Perkins
First published in The Peak.
Ballet BC’s 29th season opener was another triple bill of bold contemporary ballet. The show’s title, No. 29, also refers to their 29th new creation since renewing the company in 2009.
A.U.R.A. (Anarchist Unit Related to Art) by Jacopo Godani was first presented by Ballet BC in 2012, and this stark, minimalist work was worth seeing a second time. The lines of bright fluorescents hanging above the stage moved up and down to create very different moods throughout the piece. This work provided beautiful partner work between two of the male dancers and had a strong, aggressive tone that was emphasized by the blunt music of 48nord.
October 25 2014, Ukranian Centre.
By: Tessa Perkins
First published in The Peak.
Collaborating with Music on Main, Dances for a Small Stage presented an evening that celebrated interdisciplinary work and the intersection of dance and music. Toronto’s Cecilia String Quartet opened the evening and remained onstage throughout, as maestro Billy Marchenski performed his emcee role, inspecting the musicians and moving around the stage with interest as they played.
The first half of the show featured the music of Pyotr Ilyich Tchaikovsky along with four dance pieces. Marchenski’s maestro was first, followed by Makaila Wallace performing Karissa Barry’s choreography. Almost as a fifth member of the quartet, Wallace’s movements had a direct connection to their music. Stewart Iguidez performed a piece inspired by street dance that was very popular with the crowd, and Vanessa Goodman’s piece was a unique interpretation of the music that emphasized its every note.
Wag is a personal story translated into movement.By: Tessa Perkins
First published in The Peak.
Denise Clarke is an accomplished, respected contemporary dance artist who is a member of the Order of Canada. Over the course of her career she has been involved in all kinds of productions, but this show is personal.
Clarke entered from stage left wearing a large hooded parka and backpack, trudging along as if through a snowy field. That was in fact what she was doing. Through narration and commentary, Clarke told the story of her trek through an Edmonton park on her way to rehearsal two days before Christmas. She was on her way to rehearse this show, and began to wonder why she was bothering with a solo show that nobody would come to see.
November 8, Vancouver Playhouse
By: Tessa Perkins
First published in The Peak.
Joaquin Grilo is a powerhouse of flamenco talent. His fiery footwork and ability to embody the music was simply magical. His whole body was used to translate the flamenco guitar playing of Juan Requena and singing of Jose Valencia into fluid, precise movement. As the headlining show of the Vancouver International Flamenco Festival, Grilo showed why flamenco is so powerful.
Grilo has won many awards, and his traditional flamenco technique is superb — this is what allows him to take that knowledge and add his own personality to his work. This show was full of Grilo’s sense of humour as he slyly looked at the audienced or paused for comedic effect. The crowd loved him.
Read more: Grilo in Concert - Vancouver International Flamenco Festival
Gilles Jobin created this piece in the wake of his residency at CERN.By: Tessa Perkins
First published in The Peak.
Swiss choreographer Gilles Jobin’s Quantum represents a blending of art and science. Jobin participated in Collide@CERN, an artist residency initiative of The European Organization for Nuclear Research, where he was inspired by particle accelerators and physics.
Quantum is what came out of that residency, and it demonstrates an awareness of patterns, clusters, and the idea that we are all made of these particles that are constantly moving. The piece begins with six dancers shaking frenetically on the spot, as the lights above them sway back and forth.
Montreal's Bboyizm returns to Vancouver with Music Creates Opportunity.By: Tessa Perkins
First published in The Peak.
For most dance styles, the basis of choreography is the human body, but as Bboyizm’s choreographer Yvon ‘Crazy Smooth’ Soglo explains, street dance is different. “For a lot of contact improv and contemporary dance, bodies are the base of the movement — their weight and shape. I quickly realized that for us, the rhythm and the music is the base.”
This realization came out of workshops the company did with Sylvain Lafortune, who has a ballet background and a PhD in partnering. Soglo found analyzing the mechanics of partnering fascinating, and has always wanted to go back to these ideas that he had begun exploring a few years ago. “I never got a chance to get deeper and explore that possibility,” said Soglo.
Read more: Crazy Smooth explores the concept of partnering with the music
Billy Marchenski discusses the new format for Dances for a Small Stage 31.By: Tessa Perkins
First published in The Peak.
The role of the emcee in Dances for a Small Stage is to facilitate transitions and provide a continuous storyline throughout the evening. “I’m the sorbet,” laughed Billy Marchenski, comparing his role to that of a palate cleanser between dinner courses. In this case, the courses will be dance performances by many renowned choreographers — including Holly Small — accompanied by classical music performed by Toronto’s Cecilia String Quartet and John Oswald.
This edition of Dances for a Small Stage is presented in partnership with Music on Main and has a new format featuring the quartet accompanying the dancers with works by Tchaikovsky and John Oswald. The emcee takes on a different form based on the theme of the show. For their Valentine’s Day edition, Marchenski was Cupid, and for this edition, he will play the role of maestro.
Read more: Dances for a Small Stage collaborates with Music on Main
Angelin Preljocaj’s company opened The Dance Centre’s Global Dance Connections series.By: Tessa Perkins
First published in The Peak.
Set to John Cage’s Empty Words, this lengthy work featured four dancers completely in tune with each other and focused on the slightest of movements. The quartet demonstrated complete trust in each other as they manipulated each other into various positions and pushed and pulled themselves into elaborate formations where they were all connected. In the ultimate test of trust, one of the dancers stood straight up on the shoulders of another and fell backwards into the waiting arms of the other two.
With stiff, straight limbs, elaborate patterns, and many sequences of slow, deliberate movement, this choreography was fascinating to watch. There were a few contrasting sections of faster-paced movement with wonderful rhythms stomped out by the male dancers as they galloped around the stage. When all four of them moved in fast-paced unison, their fierce determination was a powerful sight.
Read more: Ballet Preljocaj’s Empty Moves (parts I, II, & III)
Dancers Dancing performed 20.20.20 at SFU Woodward’s.By: Tessa Perkins
First published in The Peak.
Inspired by Vancouver, its intersections, and its people, 20.20.20 presented a new perspective of the city from September 24 to 27 at SFU Woodward’s. Judith Garay’s sharp, determined choreography was impressively performed by her company, Dancers Dancing.
The back page of the program declares that 20.20.20 is “inspired by interactions of architecture, pigeons, overpasses, green spaces, mountain views, skateboards, and . . . people young and old.” I could see elements of each of these influences throughout the piece, most notably the pigeons. At certain points, the dancers flocked in pigeon-like fashion, moving in a stylized way that clearly evoked birds. They also seemed to emulate flamingoes at one point, standing on one leg for an extended period of time.
Read more: Judith Garay celebrates twenty years, twenty intersections, and twenty dancers
Random Dance will perform their cerebral work, Far.By: Tessa Perkins
First published in The Peak.
With a computerized pin board of 3,200 LED lights serving as the backdrop to Wayne McGregor’s latest work, Far, this acclaimed UK choreographer is playing with ideas of cognition and enlightenment. McGregor was last in Vancouver with Entity in 2012, and Dance House producer Jim Smith said that this production has a different tone.
“Far is a darker piece musically. The sound is a darker journey of trying to get to enlightenment, and there’s an ambient feeling.”
Read more: Dance House brings Wayne McGregor back to Vancouver
Another successful Dancing on the Edge festival comes to a closeFirst published in The Peak.
By: Tessa Perkins
Another crop of contemporary dance works have graced Vancouver during the 26th annual Dancing on the Edge festival’s ten-day span. This year saw over 30 works, a strong partnership with the Scotiabank Dance Centre, many outdoor and site specific performances, and even a Family Dinner where the audiences were the guests at the table.
The mixed programs at Dancing on the Edge allow for a variety of choreographic styles in one evening, and the site specific works add another element of scenery, integrating the space into the work, but I opted to attend five of the full programs this year to see some full-length works by developed and emerging artists.
A full length dance work, solo|soul attempts to bridge our inner and outer worlds.By: Tessa Perkins
First published in The Peak.
“Solo work hasn’t been a big interest of mine,” said choreographer Karen Jamieson, “but I knew this work needed to be solo.” Her new work, solo|soul, explores transformations from muscle to energy, aging, and how our inner world communicates with our outer being. She’s thinking of the body as a temporary garment.
The work was created over three years in dialogue with other dance artists of different aesthetics, traditions, and ages. These danced conversations formed the basis of her research and this show is the culmination of that work. The artists she worked with include Serge Bennathan, Peter Bingham, Josh Martin, Jennifer Mascall, and Darcy McMurray.
A wide range of choreography will be on display throughout the city.By: Tessa Perkins
First published in The Peak.
SFU alumna Katie DeVries is thrilled about showing her work for the first time at contemporary dance festival Dancing on the Edge. “It’s a pretty big honour — I’m an emerging artist, so it’s a great privilege to be alongside these experienced artists.” DeVries is a big fan of another SFU alumna, Vanessa Goodman, who will perform her newest full length work, what belongs to you, at the festival.
By: Tessa Perkins
First published in The Peak.
Makaila Wallace is embarking on a new chapter of her career. After almost 11 years with Ballet BC, she is now an independent artist looking for new adventures and exploring all the possibilities for her future. “It was time for a change,” said Wallace, “I just felt as though I needed more time and space for other interests I have.”
Since leaving home at 14, Wallace has always been part of a major ballet company. First the Royal Swedish Ballet, then Royal Winnipeg, and most recently Ballet BC. After 15 years as part of a formal company, she’s looking for a change. “I’m allowing myself time to transition and readjust,” she said, explaining that she wants to remain curious.
Read more: Ballet BC alumna Makaila Wallace begins a new chapter
By: Tessa Perkins
First published in The Peak.
How does a contemporary dance show inspire a Lululemon capsule collection? Amber Funk Barton is still surprised that she can now say she has her own clothing line, and she feels so grateful for the experience. “I feel that both organizations have truly had a collaboration and been inspired by each other,” she said. “They’ve been so supportive and respectful. It’s been a true artistic exchange.”
By: Tessa Perkins
First published in The Peak.
Described as “poetic movement performed by actors, dancers and musicians,” Wild Excursions Performance’s new show transforms poetry into physical theatre. “It’s kind of like adapting one marginalized, ignored, misunderstood art form to another,” laughed artistic director Conrad Alexandrowicz.
Read more: Mother Tongue adapts the poetry of Lorna Crozier and Erin Mouré to the stage
By: Tessa Perkins
First published in The Peak.
Peter Chu might as well be Canadian. He loves Vancouver and keeps coming back to work with companies like Kidd Pivot and be a part of shows like Dances for a Small Stage. “I’ve danced and worked for Canadian companies my whole career. It’s hard sometimes coming back to the US,” said Chu. The creative team he works with as part of his own company, chuthis, is made up of many Canadians including costume designer Linda Chow and composer Jean-François (Djeff) Houle. His management and PR team is also based in Vancouver.
Read more: Peter Chu talks Dances for a Small Stage and finding balance
By: Tessa Perkins
First published in The Peak.
Adapted from their previous version of this work, the 605 Collective have re-mounted Inheritor Album with some new cast members, allowing the work itself to symbolise the theme of inheritance and succession. I saw the previous version at the Dancing on the Edge Festival in 2012, and I was eager to see it again in its new form.
By: Tessa Perkins
First published in The Peak.
Body/Traffic is a LA-based dance company with a unique philosophy and supportive work environment. As co-director Tina Finkelman Berkett explains, “We’re 10 individuals who love what we’re doing and we want to share our work in a passionate, generous way.” They will be sharing this work with Vancouver as part of the Chutzpah Festival, presenting three pieces, including a world premiere and two Canadian premieres.
By: Tessa Perkins
First published in The Peak.
For Donald Sales, a great dance performance all boils down to honesty. “I think what draws an audience in is not your physical ability to execute dance moves, that’s nice to see, but what really draws one in is when you’re absolutely honest and vulnerable on stage and not trying to be someone else,” Sales said.
By: Tessa Perkins
First published in The Peak.
New York’s Sidra Bell Dance is a bold company that presents innovative works dealing with gender and identity. “My work lives in a world of darkness,” said artistic director Sidra Bell.
The theme of gender reversal comes up often in her work, which she said is “subconsciously purposeful,” and her perspective of identity and gender shapes her creations: “I’m fluid with identity. It’s either neutral or fluid, the way I approach the body. It can be considered political, but it’s just how I saw things. It’s an element that’s always been there.”
Read more: Chutzpah! Plus 2014: Sidra Bell Dance - Stella and Garment
By: Tessa Perkins
First published in The Peak.
While dancers are always searching for perfection, Walter Matteini, co-artistic director of ImPerfect Dancers, explains that they can never achieve it. “True perfection lies in imperfection. Our dancers are all different — like a puzzle, each one completes the other.” The dancers may not be able to achieve perfection on their own, but as a group their combined imperfection brings them much closer to that ideal.
Read more: Perfect Imperfection - ImPerfect Dancers at Chutzpah! Festival 2014
By: Tessa Perkins
First published in The Peak.
With two world premieres, Grace Symmetry, Ballet BC’s audience favourite, will showcase the works of three diverse choreographers. Vancouver’s Wen Wei Wang is remounting his work In Motion, which was performed by the company in 2011. “It’s nice; the first time it was very fast and the second time I’m able to make a few changes,” said Wang, “I feel much better. The dancers are more relaxed and they understand it better, can make it look better.”
By: Tessa Perkins
First published in The Peak.
Everyone believes in something — it’s how we survive life and deal with existence. “We’re all dealing with the same things, we just use different tools to cope,” said Tara Cheyenne Friedenberg.
Whether you’re Christian, Bhuddist, athiest, or none of the above, you’ll find something to relate to in Friedenberg’s new dance-theatre work Porno Death Cult. The show is about faith, what that means, and figuring out what you believe in.
Vancouver’s Goh Ballet teams up with China’s Guangdong Modern Dance Company for VIDF.
By: Tessa Perkins
First published in The Peak.
For their first performance at VIDF, Vancouver’s Goh Ballet is collaborating with China’s Guangdong Modern Dance Company (GMDC) for a historic interdisciplinary show.
“Opportunities like this for young dancers — to be at a festival and share the stage with a different style and culture of company — will enrich their future development,” said Chan Hon Goh, Artistic Director of the Goh Ballet. “I hope they will take something very special away from it.”
Read more: East Meets West: Vancouver International Dance Festival
