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footNOTES 2015 Winter/Spring Edition

Music and Movement

The importance of dance and music in early childhood education

Silent Survivors

The story of Residential Schools told through the power and beauty of traditional dance

You Can Take the Girl Out of the Prairie... HOMEbody - Lessons in Prairie Living

Front Cover The Saskatchewan Dance Project Photo Credit - Ken Greenhorn Back Cover Abiding Lines Dance Company Photo Credit - Ken Greenhorn Inside Front Cover Kelly Van Damme - Free Flow Dance Theatre Photo Credit - Ken Greenhorn



8 Music and Movement

Dance in Early Childhood Education

Written by Diane Apps-Okrainetz

10 You Can Take the Girl Out of the Prairie… Written by Shannon Litzenberger

main STAGE

table of CONTENTS

with poetic excerpts from HOMEbody – lessons in prairie living by Lindsay Zier-Vogel

14 Silent Survivors


From Shared History to Shared Hope The story of Residential Schools told through the power and beauty of traditional dance

4 A Note from the Executive Director 5 18

on the COVER - Dance on the Saskatchewan

‘Silent Survivors’ Connects with 13 Communities within Living Sky School Division #202 dsi member CONTRIBUTIONS 6 Ukrainian Dance in Cuba: Sharing Culture and Heritage

Submitted by Luba Wojcichowsky of Yevshan Ukrainian Folk Ballet Ensemble


Diving into the New Year with Men in Dance Submitted by Robin Poitras of New Dance Horizons footNOTES WINTER 2015


A Note from the Executive Director


t’s with great excitement that I share some thoughts with the dance community and its supporters in this newly formatted version of footNOTES. With a forward thinking, passionate group of board members, staff and volunteers, Dance Saskatchewan Inc. (DSI) is involved with so many exciting plans and program adventures as we move into 2015. Dance Saskatchewan recently became one of five Provincial Cultural Organizations selected to be part of SaskCulture’s Pilot Project on ‘Diversity’. Now, dance has always been diverse; but to formally participate in dialogue that examines our changing province and addresses inclusiveness and access and all the new opportunities for us to share and learn from others…well that’s totally exciting!

With the addition of permanent Marketing and Communications staff as well as the upcoming addition of a program development staff person in 2015, DSI is well positioned to undertake a residency initiative with Canada’s Royal Winnipeg ballet in April 2015 as well as some significant programs that address the Canadian Dance Assembly initiatives for National Dance Week around the themes of: Dance is Vital to Community; Dance Contributes to Fitness; Dance Expresses Diversity and contributes to Social Cohesion; Dance contributes to the wellbeing of Seniors; and Dance contributes to our Creative Economy. DSI is seeking host communities for National Dance Week events April 23 through April 29. We also have opportunities to become involved with such things as Day Camps, Master Classes, Fundraising events, Dance on the Saskatchewan, International Dance Day, Culture Days and more!

With a generous financial contribution from Sunchild Law as a presenting partner of ‘Silent Survivors’, DSI will be able to share this performance and a series of workshops as Join the fun, ‘For the Love of Dance’ an outreach initiative in 2 rural communities. If you can help us to support this important Linda Coe-Kirkham Executive Director work, please contact me.



on the COVER

Dance on the Saskatchewan T he 5th Annual Dance on the Saskatchewan was held August 11th and 18th in the main stage tent of Shakespeare on the Saskatchewan, Saskatoon. Audiences were entertained by 45 minutes of pre-show entertainment by the Long Walkers Drum Group, in the gardens before the performances. A total cast of 106 dancers representing many Saskatchewan communities performed for audiences of over 200. Performance works included ballet, tap, jazz, musical theatre, modern, hip hop, contemporary, cha cha, waltz/tango, tribal fusion belly dance, American tribal belly dance, Irish dance, flamenco, as well as spoken word poetry by Ryan Bradshaw.

DSI was thrilled to have Graham McKelvie on board as Artistic Director for 2014. With over 30 submissions for Dance on the Saskatchewan 2014, a jury working with McKelvie to develop two distinctly different shows reviewed the submissions. The process enabled DSI to present work representing the diversity of our membership, as well as to collaborate with a number of other performance artists to have the August 18th, 2014 show focus more on emerging professional and professional presentation of work. The submission deadline for the 2015 Dance on the Saskatchewan performances is June 15th. Contact the office for more information dancesask@sasktel.net. u

Left - Sheri-Lynn Turgeon Photo Credit - Ken Greenhorn Right - “Hizzy� Photo Credit - Ken Greenhorn



“...although language was a barrier for communicating, everyone seemed to be able to converse through dance.�

Top Cultural Dance Workshop with the Habana Campas Dance Company Bottom Performing at the America Theatre



Ukrainian Dance in Cuba: Sharing Culture and Heritage


n a frosty morning, on December 26th, 2013, the Yevshan Ukrainian Folk Ballet Ensemble of Saskatoon, once again embarked on a thrilling dance tour of Cuba; nine years earlier they were fortunate to have participated in the Canada Cuba Sports and Cultural Exchange which now brought them back to this amazing country. The Canada Cuba Sports and Cultural Festivals program allows Canadian performing arts groups to share their culture, heritage and performing style with their Cuban counterparts in addition to experiencing the Cuban history from Columbus to Castro. There are amazing opportunities to perform for appreciative audiences, and interact, collaborate and learn from Cuban people who share the same passions. The trip was specifically designed for Yevshan and included four performances and four workshop opportunities where the dancers exchanged their cultural dance style, socialized and interacted with one another. In addition, Yevshan was able to tour the beautiful and historic city of Havana, enjoy the relaxing beaches and travel to the stunning western region of Vinales Valley where they explored underground caves and swam under towering waterfalls. Of all the wonderful experiences the Yevshan dancers, chaperone and Artistic Director (Vitali Sorokotiaguine) had in Cuba, the collaboration amongst the other performing dance groups meant the most. On their first day in Cuba, Yevshan performed for a local Cuban dance company called Habana Compas Dance whose dance style is a fusion of Spanish, Afro-Cuban, Salsa and Contemporary. Both companies performed their traditional style of dance, and taught each other select dance moves, combinations and steps from their repertoire. Although the Ukrainian style of dance and the many styles of Cuban dance differ greatly, both groups were able to appreciate the uniqueness, difficulty, intricacy of each other’s talents and although language was a barrier

for communicating, everyone seemed to be able to converse through dance. On the second day of our visit, Yevshan danced and watched a performance from an Afro-Cuban dance company who displayed a very traditional style of dance honoring their Orishas or deities. Each Orisha had different costumes, dance styles, movements and facial expressions and told a story to the audience. Yevshan was invited to learn some of these traditional and sacred dance moves with the company. The last two performing days included a joint show at the famous America Theatre in the heart of Havana with another local Cuban dance company. Many of Yevshan`s senior dancers and Artistic Director Vitali, were delighted to see some dancers they had met on their previous Cuba trip nine years earlier. The show was an amazing fusion of Ukrainian and Cuban dance and highlighted the richness of each culture. Yevshan also had an unforgettable opportunity to visit a community centre outside of Havana that works with the youth of the community to teach traditional Cuban dancing, singing, cooking and instrument playing. Yevshan was greeted by many smiling faces and an eruption of applauses from the locals. We were also treated by a performance from the community’s youth, which included a performance of the popular Brazilian fighting dance, Capoeira. One cannot count the amazing memories that were made on this trip and Yevshan feels very grateful and fortunate that they could experience the wonderful Cuban culture and meet its beautiful people. We are all better people and better dancers because of the trip and we truly understand the power that dancing can have to bring people together and to inspire.u Submitted by Luba Wojcichowsky, dancer Yevshan Ukrainian Folk Ballet Ensemble footNOTES WINTER 2015


Music and Movement Dance in Early Childhood Education

This article is based on my years of teaching early childhood and the wisdom of my “gurus,” Jean Blaydes-Moize, David Elkind and Howard Gardner to name a few. There are many excellent early childhood music and movement programs available in the province of Saskatchewan. Written by Diane Apps-Okrainetz, BSPE, B.Ed.


hildren naturally love music. Soothing or lively, children feel it both physically and emotionally. Music evokes movement and provides a means by which children can communicate even before they have acquired spoken language. Through movement to music, rhymes and rhythmic language children can communicate messages and represent actions. Well before children think with words they think with their bodies. So outside of being a natural thing for children, why should parents and caregivers choose a music and movement experience for their children? To sum up the value of music and movement in the learning process in one short answer is not



easy to do. In a quest to give children a “leg up” parents and caregivers are often searching for activities and experiences that will create early advantages. “Many middle-class parents have bought into the idea that education is a race, and that the earlier you start your child in academics, the better.” (Elkind, 2008) In a perfect world, as parents, we would all be equipped with the expertise, time and desire to provide all the experiences that would benefit our children. Instead, we seek programs to complement and enhance the development of our children. There are vast benefits to including music

and movement experiences for young children. The benefits may not be initially obvious but the skills accrued from a music and movement experience create a framework for future learning in general.

(Brewer and Campbell, 1991) If you want kids to really anchor their learning, have them move while they are learning it.

The science does seem to indicate the benefits of music and movement as preparation for future Perhaps we need to look at the research, which learning but it is also important to know what is shows some of the benefits. Today we know developmentally appropriate for young learners. much more about how children learn and grow than ever before. We have data to confirm our Anyone who has spent any time with young chilhunches about what we once only thought might dren knows that they are busy beings! Sadly this be true about the benefits of music and move- “busyness” is on the decline, affecting many asment. Educational research suggests that 85% pects of childhood development and increasing of school age students are predominantly kin- obesity levels among children. Increasingly “rigesthetic learners. That is, they need to interact orous” educational programming in our school with information to attain it. Kinesthetic learners systems has pushed kids into activities for which are “do-ers.” Brain science strongly supports the they are not developmentally ready. “Forms of link of movement to learning. “The brain and play that once encouraged them to learn skills body’s movement and learning systems are in- of independence and creativity have been ruled terdependent and interactive. For example, mo- out. Instead of learning on their own in back tor development provides the framework that the yards, fields and on sidewalks, children are only brain uses to sequence the patterns needed for learning what adults tell them to do. Technologiacademic concepts. The body’s vestibular sys- cal, social and economic changes have helped tem (part of the ear) controls balance and spa- silence children’s play.” (Elkind, 2008) tial awareness and facilitates a child’s ability to place words and letters on a page.” In fact, the Kids need to play! It is essential to a child’s learnvestibular system has to be activated in order for ing. If we try to teach skills to children before they learning to take place. (Blaydes-Madigan 2009, are ready, they may memorize these skills, but Hannaford 1995) not learn or understand them. And it will not help their achievement later on. Child development With the continued growth of brain research, cat experts understand that children must learn what scans are now able to show how music affects their brains are ready to absorb. Early experidifferent parts of the brain. Music specifically ences should set the stage for learning content affects the development of memory skills and when they are older. Through play children build language development. Hearing is developed literacy skills, language skills and find meaning in utero; “it is the most fully developed sense at in words. (Lecker, 2014) birth and the last sense to stop at death.” (Hannaford, 1995) The work of Dr. Albert Tomatis, or Music is a language. A natural partner of music the “Tomatis effect” explains how the voice (and is movement, which is essential for growth and body) can only respond to what the ear can hear. development. Music evokes movement. Activities that encourage critical listening and re- It is a non-verbal response for children who do sponding are crucial to development. Studies by not yet have language. (Harman, 2007) “MovePhyllis Weikert indicate that the ability to keep the ment is absolutely necessary for a toddler, and beat is critical to linguistic development. Tap- music stimulates the best kinds of movement.” ping rhythms of the cadence (rhythm) of music (Campbell, p102) The melodic and rhythmic and rhyme is important because the hands are activated, leading to more effective learning. (Continued on Page 20...) footNOTES WINTER 2015


You Can Take the Girl Out of the Prairie… By Shannon Litzenberger

with poetic excerpts from HOMEbody – lessons in prairie living by Lindsay Zier-Vogel


n September 20th, 2012, I premiered my first major choreographic work, HOMEbody – lessons in prairie living to a sold out crowd at the Winchester Street Theatre in Toronto. This multimedia dance-theatre production pays homage to my prairie roots. A one-woman show, HOMEbody chronicles my journey from rural youth to big city living and pays tribute to the importance of where we come from.

I knew when I was 12 that I wanted to leave home, and asked that Christmas for my own apartment. I got books instead. But I left at 17, took the train east, everything I owned shoved into two blue Tupperware bins that travelled under us in the cargo hold. Thirty-six hours from the station in Melville, thirty-six hours of Crazy 8s, watching Saskatchewan slip into Manitoba, and sleeping through the Ontario border. It was never dark in Toronto. It was never quiet. I had to learn how to walk through a crowd.

farmers and the houses left abandoned, decaying monuments of their pioneering roots. For me these homes represent not only an abandonment of place, but also characterize the mass exodus of my generation from rural life. Today, more than 80% of our population resides in cities. The houses on either side of my parent’s house were abandoned. On the other side of the shelterbelt, the Goreski’s left like they were coming back, sheets still on the beds, closets full of hanging shirts, egg cups patient in the cupboards. I’d go back each summer and each summer there’d be more empty beer bottles the walls buried even deeper in graffiti, windows broken, and the hallways home to coyotes and foxes, their shit in the bathtub and on the landing, the kitchen home to deer, maybe, and birds, so many birds.

My investigation of home touched on themes of location, time, age, perspective, memory, tradition, The creation of HOMEbody has been an exploration transformation, personal history, and geography. It of identity, belonging and place through the lens of was a great challenge to imagine crafting a contemmy own experience growing up on a Saskatchewan porary dance piece that could speak to all of these farm and later moving to the largest city in the coun- things and so the integration of other elements such try – Toronto. Four years of research, both in and out as video images and recorded text became imporof the studio took me to and from my family home tant. In the early days of this project, I distributed a near Melville where I continued to uncover the rich questionnaire about home and collected ideas from history of the land and of my family’s heritage. While over 50 individuals who responded with their permy family’s farm celebrated its centennial anniver- sonal memories, traditions and stories. I also spent sary in 2013, the two farm houses to the north and many hours listening to my dad and my aunt talk south of our home quarter have long been vacated about the farm – the place where they grew up too. – the land either sold or rented to large, corporate I tried hard to remember the stories my grandfather



“Simultaneously thoughtful and thought-provoking... Full of evocative images of lives lived on the Saskatchewan prairies.” - Bridget Cauthery, The Dance Current magazine Photo Credit - Kevin Konnyu



told me again and again, about his childhood on the farm. R.M. of Stanley, Number 215, South East 17, Township 22, Range 7, West of 2nd. This was home. My bedroom was on the second floor to the left of the stairs. Facing East. It used to belong to my great grandparent’s Peter and Caroline. Next to the barn, there’s a winding creek, and on the North side, there’s a long shelterbelt of trees that my parents planted the year I was born. The white picket fence runs along the perimeter of the home quarter. On the west side, there’s a row of red grain bins and a workshop. My dad had a green John Deere riding lawn mower and I remember learning to drive on that lawn mower when I was about 12. It was fairly safe because it only had 2 speeds. Turtle and Hare.

In the studio, I created a physical language that was informed by my own associations of home – tall grass, fragrant air, barn swallows, dandelions,



a ceiling fan, gravel roads, and yes, gophers! The characteristics of the land and its animal inhabitants also provided inspiration – weather, light, space, and the wilderness. And of course, the rooms of the house – the kitchen, a gathering place at the heart of the home; the childhood bedroom, perhaps an early place to express our identity; and the basement, the foundation of the home and a metaphor for our subconscious self, where our formative experiences are rooted. The light is different here. It comes from everywhere, this light. The light that forgets where it’s supposed to end, the sky a different blue than anywhere else, than anywhere else. Light that spreads wide, like an open vowel. The light takes forever to disappear, the light that does not whisper and slips through even the smallest cracks, falling against floor like a plate, shattering.

(Continued on Page 21...)

Left and Right Top Photo Credit - Kevin Konnyu Right Bottom Photo Credit - Jef Mallory



“I applaud and raise my hands to Dance Saskatchewan and The Saskatchewan Arts Board for investment in the teaching tool Silent Survivors. Together you have set a standard that has earned my respect.� Eugene Arcand TRC - Indian Residential Survivor Committee Member Silent Survivors



Silent Survivors

From Shared History to Shared Hope


irst conceived at a meeting of fellow performers at the Dance and the Child International (daCi) conference in The Hague in 2006, ‘Silent Survivors’ has been a work in progress for Artistic Director, Lorin Gardypie, that has now evolved into a critically important community residency program that utilizes the arts as a tool for family wellness. Through the power and beauty of song, traditional dance and creative expression the performers tell the story of the Indian Residential School experience. Performed first as a 10-minute excerpt of Gardypie’s vision in 2009, the project has evolved into a full day community residency that includes both a one hour multi-media performance of ‘Silent Survivors’ with live dance, theatre and drumming along with a series of workshops for youth and families incorporating the theme of ‘From Shared History to Shared Hope’.

of ‘Silent Survivors’ at the Broadway Theatre, Saskatoon in March 2013. The show was remounted for inclusion as part of the cultural component of the 2014 Saskatchewan Winter Games, with two performances at the E.A. Rawlinson Centre in Prince Albert in February 2014. From there, with the Support of ‘Culture on the Go’ funding from the Saskatchewan Arts Board, Dance Saskatchewan was able to present the first touring engagements through a partnership with Living Sky School Division, the Allen Sapp Gallery and Sunchild Law in October 2014.

Since then, requests continue to pour in. With a generous donation from Eleanore Sunchild and Sunchild Law, Dance Saskatchewan is presently seeking additional funding to support community residencies hosted by Flying Dust First Nation for the Meadow Lake area, Prince Albert Grand Council for outreach in ‘Silent Survivors’ audience member Glen Northern Saskatchewan and in the City of Bear, wrote, “A powerful performance which Saskatoon. brought back to mind some of the horrors of the past, but also was so positive in looking Artistic Director, Lorin Gardypie states, “the at the possibilities for the future. The human time is now, for the unarmed truth and unspirit is tremendously resilient. Well-done conditional love to have the final word, and troupe! I believe the dramatic presentation that it is only together as a community that speaks for itself. The message is very clear.” we can move towards healing…. one dance step at a time.” “Kanaskomtin” (with respect) Thunder Spirit Consulting in partnership with He quoted the words of Nelson Mandela, “If the Truth and Reconciliation Commission of you want to make peace with your enemy, Canada and Dance Saskatchewan Inc. pre- you have to work with your enemy. Then he becomes your partner.” miered the first full-length performance footNOTES WINTER 2015


In Gardypie’s message as Artistic Director, he says “As a third generation residential school survivor I am all too aware of the trauma created by the physical, emotional and sexual abuse that we as survivors had to endure. The impact left a giant void and disconnection where our pride and self-respect used to rest. Many of our brothers, sisters, fathers and mothers continue to walk with a heart full of shame and hurt. Angered by painful memories our people are overcrowding correctional facilities that often have no real way or know how of assisting them in finding a clear, and meaningful path toward a healthy existence. Unfortunately the trauma does not end with us. Our own children are continuing to feel the intergenerational impact, as we were not properly schooled on how to adequately care for our young. We were stripped of our ability to pass on centuries old teachings that were a strong part of our identity.” “One powerful aspect of our identity that remained and continues to grow is the gift of dance. Not only seen as a form of expression but through the sacred drum we have a direct connection to the Creator and all His helpers. As traditional and contemporary powwow



dancers we’ve witnessed and experienced the healing potential through the spirit of our dance. This celebration of life is to be shared with all as we dance in a circle to reflect on all beings of our Mother Earth,” Gardypie reflected. Information for the audience on Indian Residential Schools is critical to understanding the story portrayed by ‘Silent Survivors’. It was important to assess and discuss the cultural impact of Residential Schools. Gardypie speaks of his own inner turmoil and the personal impact on his family. “My vision to tell the story of ‘Silent Survivors’ is part of my own healing path” states Gardypie. There has been an intergenerational impact that has resulted in Suicide & depression, self-destructive behaviors, self-medication and lateral violence, when an oppressed group turns on itself and begins to violate each other. Additional residual impact includes poverty and the lack of parenting skills.”u

Educate Yourself: Arts and Cultural Events often includes Traditional Ceremony In the delivery of educational programming where First Nations and Non First Nations people join together it is very important to ensure appropriate protocols are followed. Please participate, but also take the time to be familiar with appropriate tradition. ‘Silent Survivors’ – ‘From Shared History to Shared Hope’ commenced with a Pipe Ceremony that involved the Cast, Elders, Teachers and Counseling Staff. Here’s some guidelines for participation in a Pipe Ceremony: Tobacco will be offered to the Elders and Pipe Carriers for the blessing of the gathering. The pipe Ceremony is conducted in a circle with the Pipe Carrier sitting on the north side of the circle facing south. There should always be an opening in the south side of the circle. Females sit in the circle to the right of the Pipe Carrier and male participants to the left. Everyone should remove hats, eyeglasses and metal jewelry while smudging. There should never be conversation while a Pipe Ceremony is underway. Make sure your cell phone is turned off. Be aware that females should wear a long skirt or wrap their legs in a blanket or scarf prior to sitting in the circle and during the ceremony. Women should sit with their legs tucked to the side and never cross-legged. In Aboriginal tradition, women are considered to be spiritually powerful during their ‘moon time’ (menstruation) and therefore do not participate in the ceremony during that time. When the ceremony ends, it is customary to shake hands with the other participants before leaving the room.u

Top Mike Mirlin and Elicia Munro Sutherland in Silent Survivors Photo Credit - DSI Staff Bottom Students from Living Sky School Division #202 Learning to Hoop Dance Photo Credit - DSI Staff



“This was such a powerful experience and I pray that many people will see and learn from this. Thank you for helping me shed some healing tears as I am from a family of residential school survivors” - Sarah

‘Silent Survivors’ Connects with 13 Communities within Living Sky School Division #202 – ‘From Shared History to Shared Hope’


a visual arts workshop where young people could respond to ‘Silent Survivors’ using postcards.

Federal Justice Minister Irwin Cotter has called Canada’s residential schools, “the single most harmful, disrespectful, and racist act in our history.” To deal with a topic so sensitive, the arts, specifically dance, music, and traditional artistic expressions forms the means to discuss these difficult topics in a way that invites everyone to understand, and move forward towards a shared future.

As part of Living Sky’s commitment to Treaty Education, supporting pre-performance resources were developed for all teachers in order to prepare for the experience. Each day opened with an Elder’s prayer and an address by Eugene Arcand on behalf of the Truth and Reconciliation Commission of Canada. At the close of the tour, a signed copy of Treaty 6 was presented to Dance Saskatchewan with Eugene Arcand’s note stating, “I applaud and raise my hands to Dance Saskatchewan and the Saskatchewan Arts Board for your investment in the teaching tool ‘Silent Survivors’. Together you have set a standard that has earned my respect.”

ow do you celebrate the bright future possible for our children while remembering the darkest chapters of the past? That’s the challenge that faced Living Sky School Division in partnership with Dance Saskatchewan Inc., Allen Sapp Gallery, Elders, and Sunchild Law in their collaborations for community based presentation series of “Silent Survivors.”

In addition to a week of school performances for grades 5 – 12, a public performance and talkback was also offered. Students from across Living Sky School Division participated in a workshop with dancers and artists from the performance. The project doesn’t stop there, but points towards a bright, shared future that acknowledges the past in a way that invites healing. Nearly 1200 students from the communities of Spiritwood, Macklin, Cando, Medstead, Battleford, Luseland, Hafford, North Battleford, Little Pine First Nation, Wilkie, Kerrobert, Leoville and Cut Knife participated. The partnership involved the generous sponsorship of an accompanying art exhibit, thanks to Eleanore Sunchild and Sunchild Law. Staff from the Allen Sapp Gallery, North Battleford assisted with



‘Silent Survivors’ – ‘From Shared History to Shared Hope’ simply brings First Nations and Non-First Nations members of the community together in the spirit of reconciliation and healing in order to move forward together..... one dance step at a time. The cast is rich with artists who share their talents with community in a workshop format. Workshops include Story Telling, Elder Teachings, Hip Hop, Hoop Dance, Drama, Drumming and Singing. The audience joins the cast in a Round Dance at the conclusion of each stage performance, allowing both the cast and audience members the opportunity to heal together. u

Manuel Roque in his solo work Data Photo Credit - Marilène Bastien

Dive into the New Year with Men in Dance


ew Dance Horizons, in partnership with the University of Regina Faculty of Fine Arts presents the Men in Dance Festival featuring an eclectic array of male dance creators and performers. Experience an extraordinary line-up of men dancing, from an evening of Saskatchewan men in new works by Terrence Littletent, Chancz Perry, Graham McKelvie, and Regina’s own FADA Men, to the historic Brothers Plaid, a zany tap duo by Bill Coleman and Mark Shaub, now in its 30th year. Visit the University of Regina’s Fifth Parallel Gallery January 5th - 9th to join Peter Trosztmer in the creation of a sticky installation made of packing tape, in which he will perform in a hanging wasp-like nest on January 8th and 9th. Take in an evening of wild dancing with Benjamin Kamino the new artistic co-curator of Toronto’s Dancemakers, and the edgy Mexican dance and performance artist Lukas Avendaño in I am not a man I am a butterfly. A highlight of the Festival is Sylvain Émard

Dance’s Ce N’est Pas La Fin Du Monde (It’s not the end of the world), a new contemporary work by Sylvain Émard that brings together seven of Canada’s finest male dancers. See master artist Paul-André Fortier’s new duet set on emerging prairie dancers, Brett Owen and Aaron Paul from Winnipeg’s School of Contemporary Dancers. The festival finale performance on January 18th is Manuel Roque’s Data, the tip of an iceberg in a festival that is sizzling with dance surprises. Thought provoking, athletic, fun, rigorous, wild and virtuosic entertainment. Stay tuned for more details at www.newdancehorizons.ca!u New Dance Horizons is proud to partner with the University of Regina, Le Conseil culturel fransaskois, and the 5th Parallel Gallery. This Festival is generously supported by Business for the Arts, Canadian Heritage, Canada Council for the Arts, CanDance, City of Regina, Dance Saskatchewan Inc., Saskatchewan Arts Board and SaskCulture. footNOTES WINTER 2015


Music and Movement (...continuation from page 9)

patterns of music provide exercise for the brain and help with memory (Harman, 2007). In combination, music and movement can provide an excellent mechanism to enhance future learning. Activities and programming which include movement, listening and child-selected responses may fulfill many of the requirements of being developmentally appropriate practices. Putting all the information together, children need to move. They need to develop the ability to listen and they need to engage in child-directed play. Another natural partner is drama.

• Music selections represent many genres including music from different countries using different languages • Opportunities are provided for child-directed, imaginative discovery and play For further reading on this topic may I suggest an excellent article, “Music and Movement – Instrumental in Language Development” by Maryann Harman, M.A. which can be found at www. earlychildhoodnews.comu

I am a proponent of any experiences that help to develop skills in communication and social interaction. In an age when so much time is spent on being disconnected we need experiences that bind us together and engage us in understanding and responding. I believe that quality music and movement programs possess the components to do just that. While developing a framework to build language communication skills it is equally important to be building a movement vocabulary for future learning as well. Key Components of a Solid Music and MoveBlaydes-Madigan, J. (2009) Building Better Brains ment Program for Young Children: Through Movement www.actionbasedlearning.com

• Music, rhyme and rhythmic language are used as the vehicles to inspire children’s responsCampbell, D. and Brewer, C. (1991) Rhythms of Learnes ing Tucson, Arizona: Zephyr Press

• Children are responding creatively to music by use of rhythm instruments, imitating vocal Campbell, D. (2000) The Mozart Effect for Children New York, NY: William Morrow sounds and marching/stepping/moving • Activities to keep the beat are an integral part of programming

Elkind, D. (2007) The Power of Play De Capo Press Hannaford, C (1995) Smart Moves: Why learning is not all in the head Arlington VA: Great Oceans Publishing

• Cross-lateral movement activities are incorporated (going from the right across the centre to the other side readies the brain for read- Lecker, L (2014) The Disturbing Transformation of Kindergarten- Truth About Education Heart Connecticut ing) Media Group



You Can Take the Girl Out of the Prairie... (...continuation from Page 12)

Shadows stretch three times the height of me, stretching across the road, the sun long and low against the unending horizon. Here, the light fills your lungs The light that fills window glass, like paint on a wall. Light that traces long stretches of highway, like a song on repeat, like a story repeated and repeated and repeated. The light – a single note held, held – The light slides down the windowsill, like a hand down a throat, pausing only briefly at the long sentence of a collar bone. The sun is so bright, my head aches.

The winter before HOMEbody’s premiere I travelled back to Saskatchewan once again to continue my research but this time I brought with me some of my collaborators – director and creative collaborator, Marie-Josée Chartier (who has been working with me since 2008!) as well as writer Lindsay Zier-Vogel and actor/video artist Jef Mallory. Together, we spent three weeks working in residence at the Anne Portnuff Theatre near my hometown in Yorkton to continue developing HOMEbody – mining stories, capturing new video images and piecing the giant puzzle together! In tandem with the development of HOMEbody, we worked with drama teacher Brennan Risling to animate a unique creative process for Grade 10 and 11 drama students at the Yorkton Regional High School - guiding them through the creation of their own performance pieces that integrate a variety of artistic mediums including dance, theatre, music, and text. Our three weeks culminated with a public performance where the students, my collaborators, and I presented our work.

of our population is accelerating and new technologies allow us to move faster and farther away from our roots, I am compelled to ask the question ‘What is home?’ To answer it is, well, a complicated thing… In some ways, I feel like I could make this piece over and over again and would continue to discover something new every time. I don’t think I was ever meant to stay on the farm, but in many ways I’ve never really left. Parts of home came with me. I’m still a Saskatchewan Roughriders fan, I make perogies from scratch at Thanksgiving, and I feel most relaxed under a big sky in a wide-open space. I don’t do well in big crowds. I need a front door that opens directly to the outside. I don’t mind being alone in complete silence. I prefer rye with Pepsi. You can take the girl out of the prairie, but you can’t take the prairie out of the girl… But in all seriousness, I’m quite concerned about the fate of my family home. I was the fourth generation to have lived on the Litzenberger farm. My family acquired the land from the government in the early 1900’s and former generations of Litzenbergers worked hard to clear it of thick bush to make it profitable as a small-scale agriculture enterprise. A century later, my parents still live out there. But with my brother and I grown and established elsewhere, what is to become of our family legacy? The question ‘what is home?’ is a deeply personal one for me that traces its roots back to the moment I packed my bags, boarded the TransCanada Via train for Toronto and never looked back. It’s been nearly two years since the premiere of HOMEbody and I’ve since performed this work in rural Ontario and will take it to Moncton and Fredericton in 2015. But what I want most is to bring HOMEbody to the place where it began. I want to bring it home to Saskatchewan.u

________________________________ Originally from Melville, Saskatchewan, Shannon Litzenberger is a Toronto-based contemporary dancer, choreographer, producer, writer, and arts Needless to say, making HOMEbody has been an advocate. www.shannonlitzenberger.com | extraordinary journey. In a time when the transience www.homebodydance.ca footNOTES WINTER 2015


DSI Information

Dance Saskatchewan is a non-profit organization committed to the advancement of dance. www.dancesask.com Our Vision

To create a viable, unified organization which represents and advocates dance interest. To foster a respect and acceptance of dance which encourages free expression of cultural identity. To establish a vibrant environment for dance which cultivates performance opportunities, stimulates employment, and celebrates heritage and cultural diversity.

Our Purpose To support and enhance the development of all dance forms. To preserve, promote, and represent dance in Saskatchewan. To educate about dance. To encourage a passion for dance. To provide a multidisciplinary centre that focuses on dance, integrates related art forms, with expanded opportunities in a wellness environment.

Membership Information Dance Saskatchewan offers many benefits to its members. If you are an amateur or professional dancer, a dance club or studio, or someone involved in the dance community with an interest in any style of dance, there is a reason for you to consider becoming a member. Members receive the footNOTES publication twice a year and have opportunities to submit articles and advertising to the magazine. Members also receive discounts on all of our services, as well as on DSI sponsored workshops and events. Our members have access to the DSI resource centre which is the largest lending library of dance materials in Canada. Members are eligible to apply for grants and scholarships, reduced rates on SOCAN license fees (www.socan.ca), Canadian Dance Assembly (www.dancecanada.net) and much more! Visit our website for more information, www.dancesask.com. For a complete list of DSI Staff and the Board of Directors visit www.dancesask.com Hours of Operation Monday - Friday 9:00 AM - 5:00 PM Evenings and weekends scheduled around studio rental

205A Pacific Avenue Saskatoon, SK S7K 1N9 (306) 931-8480 dancesask@sasktel.net

This publication was lovingly designed and edited for you by Adrienne Collins Bretell, Marketing & Communications Director of Dance Saskatchewan Inc. If you are interested in contributing to footNOTES with an article about dance or information that is relevant to dance professionals and enthusists, we’d love to hear from you. If you or your company is interested in advertising in footNOTES, please contact DSI for availability and fees. Thank you for reading and for your committment to the advancement of dance!




The Faerie Queen A Ballet Based on A Midsummer Night’s Dream

Choreography John Alleyne

APR 21 / 2015 TCU Place, Saskatoon Elizabeth Lamont PHOTO: Réjean Brandt Photography

For tickets visit tcuplace.com

APR 22 / 2015 Conexus Arts Centre, Regina For tickets visit conexusartscentre.ca

Profile for Dance Saskatchewan

2015 winter footNOTES  

footNOTES is a biannual publication that highlights and celebrates the advancement of dance in Saskatchewan, Canada, and internationally.

2015 winter footNOTES  

footNOTES is a biannual publication that highlights and celebrates the advancement of dance in Saskatchewan, Canada, and internationally.