Dance Victoria Season Program 2023-2024 by Dance Victoria

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2024 2023

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BOLD. BREATHTAKING. BOUNDLESS.

DANCE AT THE ROYAL SERIES GIBNEY COMPANY NEW YORK COMPAGNIE HERVÉ KOUBI FRANCE + ALGERIA NRITYAGRAM DANCE ENSEMBLE + CHITRASENA DANCE COMPANY INDIA + SRI LANKA BALLETS JAZZ MONTRÉAL MONTRÉAL SPECIAL PRESENTATIONS Nutcracker

UKRAINIAN SHUMKA DANCERS EDMONTON + UKRAINE

+ VICTORIA SYMPHONY

CIRCA AUSTRALIA

Because is reason enough.

ÕKĀREKA DANCE COMPANY AOTEAROA (NEW ZEALAND)

SEASON SPONSOR

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ABOUT

Dance Victoria Stats + Facts

Dance Victoria’s mission is to promote the appreciation of dance by developing and presenting diverse local, Canadian, and international artists, and by engaging the community in the celebration of dance.

Photo (cover): Compagnie Hervé KOUBI by Frédéric de Faverney. This page: (clockwise from top left): Ballets Jazz Montréal in We Can’t Forget What’s His Name; Gibney Company in SARA by Ascaf; Õkāreka Dance Company dancer Nancy Wijohn in Mana Wahine by Alex Eﬁmoff; Nrityagram dancers Rohini Banerjee and Daquil Miriyala in Āhuti by Ravi Shankar

We value: –Artistic excellence and innovation in the ﬁeld of dance; –Inclusive, generous engagement with artists, audiences, and the community; and –Equitable access to Dance Victoria’s performances, programs, and spaces.

By the Numbers:

Bringing the World’s Best Dance to the Stage

–Total audience (all programs): 23,000+ –Number of participants in city-wide Dance Days festival: 3,000 –Artist Residencies: 11 –Companies/artists presented: 10+ –Total number of free hours provided through the Studio Access Program for local dancers making new work in 2022/23: 600+ –Staff members: 7

Dance Victoria Studios: –A hub for dance training and creation in our community; –12,000 square feet over two levels; –Recent upgrades to the Vernon Studio make it fully adaptable for use as a black box performance space with a capacity of 100 people or for ﬁlm projects; –Administrative ofﬁces for Dance Victoria and Protégé Dance Project; and –Between 4,000 and 5,000 dance students, parents, and dance makers visit Dance Victoria Studios monthly.

CONTENTS

3 Dance Victoria Stats & Facts 5 President’s Welcome 7 Executive Director’s Welcome 8 Gibney Company 14 Ukrainian Shumka Dancers with Victoria Symphony 18 Dance Days and Inverso Productions 19 Chrystal Dance Prize 22 Compagnie Hervé KOUBI 27 Pay Your Age 28 Circa 34 Nrityagram Dance Ensemble with Chitrasena Dance Company 39 Night Moves 40 Õkāreka Dance Company 44 Ballets Jazz Montréal 47 Residencies & Studio Rentals 49 Board of Directors 51 Your Support Matters 53 Planned Giving 55 Our Supporters 58 Our Sponsors

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ABOUT

President’s Welcome

The Royal Theatre and McPherson Playhouse are located on the ancestral lands of the Lekwungen peoples, also known as the Esquimalt and Songhees Nations. We extend our appreciation for the opportunity to live, create, and perform on this territory.

Welcome to our 2023/24 Season!

I am excited to welcome you to this Bold, Breathtaking, and Boundless 2023/24 Season! It promises to be a season like no other. If you are a returning patron, thank you for your continued support of Dance Victoria. You make this all possible. If you are new to Dance Victoria, welcome! I hope you enjoy the world of dance our team brings to the stage. To say it takes a village to mount a season of dance is an understatement. The number of hands and hearts that have a piece of Dance Victoria’s success are too many to mention individually; however, I want to acknowledge and thank Gillian and her talented team — Dayna, Shireen, Kiera, Holly, Larissa and Anne-Sophie. Your dedication and efforts are truly appreciated. Bernard Sauvé, you are missed, but we feel your presence in every show you helped program this season. I also want to extend my gratitude to the Dance Victoria Board. Working with such a competent and committed group of individuals is nothing short of a pleasure. Our village also includes the many wonderful sponsors who invest in our community, generous donors, season subscribers, single-ticket buyers, and talented artists. Because of all of you, our lives are rich with culture and the art of dance. I offer a heartfelt thanks to you all. Now, Dance Victoria’s village, I hope you enjoy tonight’s presentation! With gratitude,

– Colette Baty, President Board of Directors

Welcome from Season Sponsor Derma Spa

Photos: (top) Colette Baty; (right) Dr. Harlow and Jane Hollis by Susan Hollis

Dance Victoria welcomes us to a wonderful new season of creativity and world-renowned performances yet again. Derma Spa is this year’s Season Sponsor and we are just as thrilled to be a part of the team as we were back in the beginning — too many years to count! We are proud to promote this year’s program and offer a special welcome to all of you new subscribers who are joining us “regulars” who have remained the backbone of this organization. Bravo Dance Victoria and Cheers from all of us at Derma Spa. – Dr. Harlow and Jane Hollis

SPREAD THE LOVE Please support the local businesses and advertisers in this program. They help Dance Victoria bring the World’s Best Dance to our community and we couldn’t do it without them.

Have the season program at your ﬁngertips! Simply scan this QR code with your phone by using the camera and you will have immediate access to a digital copy of the program.

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ABOUT

Executive Director’s Welcome

Photos: Gillian Jones and Dance Victoria team by Jo-Ann Richards Works Photography

My first season with Dance Victoria was incredible and full! I’m grateful to you — our supporters, partners, artists, and friends — who have been so welcoming. You bring to each performance your enthusiasm, curiosity and, whether you like a particular work or not, an openness to share what you think. This is why we’re here, and I love hearing the buzz of your reactions in the lobby after a show. I’ve also had the pleasure of welcoming many of you to Dance Victoria for the first time. In my first pre-show welcome with Bernard Sauvé last fall, I asked new audience members to raise their hands — and was excited to see the response ripple up through the theatre. Since that night, we’ve been working hard to engage and invite first-time guests back. I’m delighted to share that, through these efforts, over 60 new patrons from last season have become new subscribers! Our expanding community is something to celebrate. Programming the 2023/24 season, Bernard and I felt a sense of possibility that I think reflected being truly back after the pandemic. Once again, we could book companies from around the world as travel restrictions eased. In the coming months, you’ll see artists hailing from Australia, New Zealand, India, Sri Lanka, France, Algeria, the U.S. and, of course, from across Canada. We’ll see New York’s Gibney Company

From left to right: Shireen McNeilage, Larissa Sharma, Kiera Shaw, Holly Vivian, Gillian Jones, Dayna Szyndrowski. Not pictured: Anne-Sophie Cournoyer.

in a mixed rep program grounded by Johan Inger’s free-spirited Bliss. Compagnie Hervé KOUBI and its stunning production The Barbarian Nights will, after much anticipation, perform on the Royal stage. We will celebrate a milestone with our ﬁrst companies from South Asia featured in the Dance at the Royal series: Nrityagram Dance Ensemble (India) and Chitrasena Dance Company (Sri Lanka) in Āhuti. The season concludes with an audience favourite, the beautiful Ballets Jazz Montréal. Special presentations give us the chance to take risks, expand our audiences — and, if I'm being honest, present more dance! Australia’s Circa is the ﬁrst contemporary circus presentation in Dance Victoria’s history. In Humans 2.0, circus visionary Yaron Lifschitz offers a powerful commentary on what it means to be human. I personally can’t wait to see Õkāreka Dance Company’s Mana Wahine [Powerful Women] in the intimacy of the McPherson Playhouse. The production binds Māori Indigenous culture with dance in a contemporary context, and the result is gorgeous. Last but not least, Ukrainian Shumka Dancers return with a high-energy staging of the family favourite, Nutcracker. A word you will hear a lot this season is partnership. Dance Victoria recently invested in a new staff position to expand our community engagement efforts. As a result, you’ll see more workshops and masterclasses, more programs in partnership with local organizations (one example: a co-presentation of Chrystal Dance Prize winner Shion Skye Carter’s Residuals (住み・墨) at Intrepid Theatre’s OUTstages Festival on February 8 & 9), and what we hope is increased access to Dance Victoria’s performances and programs overall. I encourage you to reach out with your ideas and feedback around this work, and to support our efforts in whatever way is meaningful to you. Thank you for being part of our Bold, Breathtaking, and Boundless 2023/24 Season. I look forward to seeing you at the theatre, and in the community! –Gillian Jones, Executive Director gillian@dancevictoria.com

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GIBNEY COMPANY

N E W YO R K // C O N T E M P O R A RY

SARA CHOREOGRAPHY Sharon Eyal + Gai Behar MUSIC Ori Lichtik A Measurable Existence CHOREOGRAPHY Yue Yin MUSIC Rutger Zuydervelt Bliss CHOREOGRAPHY Johan Inger MUSIC Keith Jarrett

NOVEMBER 17 + 18, 2023 • FRI + SAT • 7:30 PM • ROYAL THEATRE RUNNING TIME: 98 MINUTES (INCLUDING TWO INTERMISSIONS) • AGE GUIDE: 12 YEARS+

SEASON SPONSOR

LEAD SPONSORS

SEASON RECEPTIONS

RECEPTION CO-HOST

PRE-SHOW CHAT

FLORAL ART

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The Work of Art

Photo (facing page): Gibney Company in Bliss by Sharen Bradford. This page (top to bottom): Gibney Company in A Measureable Existence by Joseph Digiovanna; Gibney Company in SARA by Ascaf

It is a universal truth that an audience watching a company perform is only witnessing the ‘tip of the iceberg’ — there are invisible volumes of planning, rehearsal, and hard work that feed into the transcendental moments happening on stage. Gibney Company is a particularly special case, however, as the unseen depths do not only include acts of art-making. In Gibney’s case, they also include a profound dedication to social activism, community engagement, and empowerment. This philosophy, that social activism is inextricably linked to artistic expression, has been present from the company’s earliest days when founder Gina Gibney started the company in a single studio in the heart of Manhattan. Throughout its more than three decades of existence, Gibney Dance has set its sights on a range of complex issues. For a decade, beginning in 1997, it transitioned to an all-female troupe to address women losing artistic and ﬁnancial ground in the dance industry. In 2000, it founded the Domestic Violence Project (today known as Move to Move Beyond), a hybrid arts/social service program connecting abuse survivors with company artists. During the company’s visit to Victoria, Gibney dancers will lead this evidence-based program with clients of Victoria Women’s Transition House.

Gibney dancers are not only company members, but Artistic Associates whose roles go beyond performances to embody advocacy, education, and agency for change. In return, the company offers support and sustainability for the artists through 52-week contracts, health insurance, sabbaticals, and paid vacations. In addition to their other responsibilities, each Artistic Associate is a participant in Moving Toward Justice Fellowships. Through this initiative, they individually pinpoint a pressing issue in the dance ﬁeld and craft new programs to respond to these evolving needs. Gibney Company’s visionary work has been recognized both on stage and off — and has seen the company grow into an artistic and social force. From its single studio in the Flatiron District, it has grown to operate two Broadway locations encompassing 23 studios, 5 performance spaces, and 52,000 square feet of space. Gibney provides a platform for some of New York and the world’s most renowned, diverse choreographers. Its community outreach has made a difference in thousands of lives. As you are moved and amazed by these incredible artists during the company’s Victoria debut, we encourage you to reﬂect on the powerful and transformative work happening offstage. DV

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MEET THE CHOREOGRAPHERS

Gai Behar and Sharon Eyal

Gai Behar (Tel-Aviv, 1977) has made a signiﬁcant impact on Tel Aviv’s live music, art and nightlife scenes. In addition to his choreographic work, he produces live music, underground artistic events, and techno raves. Between 1999 and 2005, Behar curated and produced the event Man Without a Shirt in Tel Aviv. The event was co-curated by Uri Katzenstein and included works by Ohad Naharin and Sharon Eyal, among others. Alongside their work with L-E-V, Behar and Sharon Eyal have collaboratively created: GöteborgsOperans Danskompani’s Untitled Black (2012), Nederland Dans Theater’s SARA (2013), Bedroom Folk (2015), and Salt Womb (2016); Half-Life for the Royal Swedish Ballet; and more.

Born in Jerusalem, Sharon Eyal danced with the Batsheva Dance Company from 1990–2008, serving as its Associate Artistic Director from 2003–2004 and as a House Choreographer from 2005–2012. Since 2009, she has created over 30 new works for dance companies around the world, such as Nederlands Dans Theater, Royal Swedish Ballet, Hubbard Street Dance Chicago, and more. Eyal has collaborated with major names outside of the world of traditional dance, including fashion shows with Dior and music videos for The National and Mike Mills. In 2013, Eyal launched L-E-V Dance Company alongside SARA collaborator Gai Behar. L-E-V’s performances are co-produced with some of the world’s leading dance venues such as Sadler’s Wells in London, Julidans in Amsterdam, the Banff Centre, and more.

Yue Yin

Johan Inger

CHOREOGRAPHER, A Measurable Existence

CHOREOGRAPHER, Bliss

The founder and artistic director of YY Dance Company (YYDC), Yue Yin is an internationally recognized performer and choreographer. Yin was the recipient of Dance Magazine’s 2021 Harkness Promise Award. This prestigious award recognizes innovation in choreography and education. She was the winner of Hubbard Street Dance Chicago’s 2015 International Commissioning Project, winner of the 2015 BalletX Choreographic Fellowship, and winner of NW Dance Project’s 5th Annual Pretty Creatives International Choreographic Competition in 2013. Yin has received commissions from companies and organizations including Martha Graham Dance Company, Boston Ballet, Philadelphia Ballet, Aspen Santa Fe Ballet, Limón Dance Company, Alberta Ballet, Balletto Teatro di Torino, and Gibney Company, among many others.

Johan Inger joined Nederlands Dans Theater 1 in 1990 and was a high-proﬁle dancer in the company until 2002. His debut as a choreographer (1995), also for NDT, quickly garnered recognition. For his ballets Dream Play and Walking Mad, Inger received the Lucas Hoving Production Award in October 2001. Johan Inger left NDT in 2003 to take on the artistic leadership of Cullberg Ballet in Stockholm, where he created numerous works. Walking Mad was awarded the Danza & Danza Award in 2005. Since 2008, Inger has worked as a freelance choreographer. He creates for numerous companies around the globe such as GoteborgsOperan, Ballet Basel, Swedish National Ballet, La Compañía Nacional de Danza, Aterballetto, Lyon Opera Ballet, Les Ballets de Monte–Carlo, and, of course, NDT, holding the position of Associate Choreographer from 2009 to 2016. Between 2016 and 2022, Inger choreographed his own versions of Petrushka, Sleeping Beauty (Aurora’s Nap), Carmen, Peer Gynt, and Don Juan.

Photos (clockwise from top left): Gai Behar and Sharon Eyal by Eva Roefs; Yue Yin by Steven Trumon Gray; Johan Inger by Bengt Wanselius

CHOREOGRAPHERS, SARA

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Campaign Chairs Nutcracker Kids

A trusted team you can count on.

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Greg Phillips

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Shion Skye Carter’s

Residuals ֘Ε独ू

with opening performance of Angela Mousseau’s Objects in mirror are closer than they appear

February 8 + 9, 2024 Metro Studio • 1411 Quadra Street

Photo by Lula-Belle Jedynak

Tickets: IntrepidTheatre.com

Co-presented by Dance Victoria & Intrepid Theatre’s OUTstages Festival Shion Skye Carter is a 2022/23 Recipient of Dance Victoria’s Chrystal Dance Prize – Projects Award. Angela Mousseau is a 2023/24 Dance Victoria Residency Artist and 2018 and 2019 Choreographic Lab participant.

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Another Brick in Nepal and RTM are thrilled to be lead sponsors of Dance Victoria for another year! Our fifth school construction project in eight years is scheduled for completion by December 2023. Our upcoming sixth project, a women’s safe house and shelter, starting November 2023, is our largest project to date. We invite you to help us build this first facility of its kind in eastern Nepal.

For more information about our projects and how you can get involved please visit AnotherBrick Another BrickIn InNepal Nepal.com .com or scan this QR Code.

Another Brick In Nepal is a registered Canadian charity.

Photo by Sumitra Tournour - ABIN Board Member

Proposed Residence for Women’s Safe House, Khandbari Municipality, Ward No. 8, Sankhuwasaba, Nepal.

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Proud to present

Nutcracker Robert G. Milne

Pheng C. Heng

Nathan C. Lampard

Noel P. Lenaghan

Robert J. Millar

Rachel Lenaghan

Matthew N. Dolmage

Raya D. J. Mackenzie

Leah K. Robinson

Paul M. Bundon (Associate Counsel)

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UKRAINIAN SHUMKA DANCERS + VICTORIA SYMPHONY

C A N A D A / U K R A I N E // C L A S S I C A L B A L L E T + F O L K

Nutcracker CHOREOGRAPHY Viktor Lytvynov AND John Pichlyk MUSIC Pyotr Ilyich Tchaikovsky

DECEMBER 1 + 2, 2023 • FRI + SAT • 7:00 PM DECEMBER 2 + 3, 2023 • SAT + SUN • 1:00 PM ROYAL THEATRE RUNNING TIME: 107 MINUTES (INCLUDING INTERMISSION) • AGE GUIDE: 5 YEARS+

SEASON SPONSOR

LEAD SPONSORS

SUGAR PLUM PARTY

NUTCRACKER KIDS

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Nutcracker Story Synopsis

Facing page: Ukrainian Shumka Dancers in Nutcracker by Marc J. Chalifoux.

ACT I Our story takes place one magical Christmas Eve, as the Stahlbaum family busily finishes last minute preparations for a grand party. A tableau is presented and we see a puppet workshop, where Dr. Drosselmeier’s nephew is hard at work. His mysterious Uncle makes an unexpected appearance. Happy to show off his wares, the nephew reveals a Vertep, a Ukrainian puppet theatre. Together the two entertain a group of children who are joyfully anticipating the Christmas Eve celebration about to take place. After bidding good night to the young ones, Dr. Drosselmeier indicates he is wishing for a special gift for his goddaughter Clara. Although his nephew offers suggestions, he is not content. Thinking for a moment, the young man reluctantly brings out his newest creation, a large Nutcracker doll. Dr. Drosselmeier, impressed, considers it but feels it is missing that ‘special something.’ His nephew, eager to please, gifts the Nutcracker a most magical element — his heart. On an enchanting city streetscape, the guests begin to arrive in their holiday finery. With a flourish of his great black cape, the mysterious Dr. Drosselmeier appears, greeting Ukrainian carolers. His arrival to the Stahlbaum party is magical and he brings a doll as a gift, which performs a delightful dance with the children, while a Ukrainian marionette brings yet more joy to the young ones. However, it is the Nutcracker doll, Drosselmeier’s gift to Clara, that wins her heart. Clara’s brother Fritz teases her by snatching the Nutcracker away from his sister and — to Clara’s devastation — accidentally breaks the doll’s arm. Dr. Drosselmeier encourages them to gently cradle the broken Nutcracker doll, before carefully

placing it beneath the Christmas tree. Then he beckons the carolers and their Christmas star. After the guests depart, Clara creeps back to the darkened parlour to check on her Nutcracker. The clock chimes, striking midnight. As Clara peers into the darkness, she realizes she is surrounded by an army of menacing mice. A cannon blasts down a battalion of mice while the Nutcracker, now come to life, leads toy soldiers into battle. The ﬁght rages on until the Mouse King corners the Nutcracker in a duel. Clara comes to the Nutcracker’s aid and defeats the Mouse King by pulling off his tail. The spell broken, the Nutcracker transforms into a handsome Prince, and he declares his eternal gratitude to the young heroine. He whisks her away to his fantasy fairytale kingdom, far from the mice, the parlour, and Clara’s childhood home. ACT II

Clara and the Prince journey to a magical fairytale kingdom. Upon their arrival at the palace, they are entertained by a beautiful celebration of Carol of the Bells. Once inside, their welcome continues as dancers from faraway lands perform for the pair: a joyful Chinese trio, elegant Spanish dancers, an energetic Trepak, a mysterious serpent, spirited Irish dancers, a graceful Sugarplum Fairy, and a dazzling Hopak are presented in a most spectacular fashion. Soon, the Prince asks Clara to join him in a romantic and lyrical pas de deux. Suddenly, Clara is back in her family’s parlour, cradling her Nutcracker. She sighs, realizing her wonderful journey was but a fantasy. Or was it? Dr. Drosselmeier later visits with his young nephew, who bears a striking resemblance to Clara’s beloved Prince…. DV

RE-ENVISIONS OF SUGAR PLUMS

Part of the beauty of the ‘classical canon’ is the ability to experiment and re-interpret works in ways that shed new light. Matthew Bourne’s all-male Swan Lake (famously featured in Billy Elliot) infused a dangerous edge to fairytale work; in Vancouver, Ballet BC brought fresh relevance to Giselle and Romeo & Juliet in their cutting-edge adaptations; and Dance Victoria audiences are unlikely to forget the irreverent hilarity in Les Ballets Trockadero de Monte Carlo’s slapstick skewerings. First performed 25 years ago, Shumka’s Nutcracker was a glittering new vision of the 1892 work that infused Ukrainian culture, dance, and music — including the iconic Carol of the Bells — into the work. In the two-and-a-half decades since, the work has toured the globe — and even run on Broadway! In this time, Shumka has also found opportunities to update and reinterpret the production — including a recent update in which Dance Victoria was proud to play a part! This holiday season, audiences will witness all-new versions of Act Two’s Coffee and Tea Divertissements (frequently referred to as ‘Arabian’ and ‘Chinese’). Developed by Ukrainian Shumka Dancers with commissioning support from Dance Victoria, the process involved re-visiting these sections with a culturally sensitive lens. Shumka invited the consultation of long-time Dance Victoria artistic partner Wen Wei Wang, who in collaboration with the company, has brought new relevance and perspective to the all-time classic.

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NUTCRACKER KIDS

SUGAR PLUM PARTY

SPONSORED BY

SUPPORTED BY

Each year, Dance Victoria provides free Nutcracker tickets to children and families with ﬁnancial barriers. In 2022, through our partnerships with various local organizations, over 250 community members experienced Nutcracker through this program. Our sincere thanks to Nutcracker Kids Campaign Cochairs Julie Rust and Greg Phillips of Engel & Völkers — leaders of this program for the past 8 years! — and the Times Colonist Christmas Fund. And thank you to ALL the amazing donors who will make the 2023 holiday season bright for so many Nutcracker Kids.

Join us for a Sugar Plum Party in the lobbies of the Royal before all four performances of Ukrainian Shumka Dancers’ Nutcracker! Engaging family activities will include craft stations, photo opportunities with Nutcracker characters, and a chance to meet RBC mascot, Leo the Lion.

NUTCRACKER ENSEMBLE The children in this production are local dancers from Veselka Dance who learned their parts under the artistic direction of Lisa Hall. We are grateful for this opportunity to give young people the unforgettable experience of performing on the Royal stage with professional dancers, accompanied by the Victoria Symphony.

From top: Ukrainian Shumka Dancers in Nutcracker by EPIC Photography; Ukrainian Shumka Dancers in Nutcracker by Marc J. Chalifoux.

Use your phone to scan this QR code to donate to Nutcracker Kids today!

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IN THE COMMUNITY

It’ll move you!

Dance Days

January 26 – February 4, 2024

Photos provided by Dance Days participants

Dance Days is a free, city-wide celebration of dance. Organized in partnership with local dance studios and instructors, Dance Days offers free adult dance classes in a diversity of styles, all over town. Have you ever wanted to try modern dance, ballet, hip-hop, ﬂamenco, ballroom, dance roller-skating and more? Well, get out your dancing shoes — now is your chance! Look for the online calendar at DanceVictoria.com in early January 2024. Dance Days culminates with Dance Victoria’s presentation of Compagnie Hervé KOUBI on February 2 & 3, 2024 at the Royal Theatre.

Inverso Productions

RSVP at DanceVictoria.com beginning January 2, 2024.

As part of Dance Days, Dance Victoria welcomes the community to a free performance of Borrowed Time, a new work by Inverso Productions, choreographed by Lesley Telford in collaboration with the artists. In this piece, a wide range of ages joins in an exploration of strength and vulnerability through different phases of our lives. This intergenerational project is a special one for Inverso, bringing together professional and community dancers. How do our relationships across generations allow us to give in, grow, and rebuild? How do the constellations of our families shift as the weight of care teeters over time? Collaborators are Daria Mikhaylyuk, Marisa Gold, Justin Calvadores, and older dancers from the local community in Victoria. This piece is dedicated to Lesley’s mother, who inspired her advocacy and artistic path. Lesley Telford and Inverso Productions are Dance Victoria Residency Artists during the 2023/24 season. Borrowed Time was made possible by the generous support of private donors, the Canada Council for the Arts, the City of Vancouver Cultural Services, The Scotiabank Dance Centre, and Dance Victoria.

Photo by David Cooper, Art direction: Daria Mikhaylyuk, Photo of Barbara Karmazyn

Borrowed Time JANUARY 27, 2024 DANCE VICTORIA STUDIOS

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IN THE COMMUNITY

Photos (clockwise from top left): Amber Downie-Back by Angus Gaffney; Julia Taffe of Aeriosa Dance Society by Sarah Race Photography; Shion Skye Carter by Lula Belle Jedynak; Bryn Bridgen by Miles Clark; and Margarette Bernal by Laura Zeke. CDP spotlight photo: Amber Downie-Back at Impulse Theatre’s Dance Incubator, Peek Fest 2022, by Parker Melnick

Chrystal Dance Prize

Dance Awards for Independent and Emerging Artists

The Chrystal Dance Prize champions dance creation on the West Coast, thanks to a bequest by Dr. Betty “Chrystal” Kleiman in 2009. The Chrystal Dance Fund is valued at more than $1.6 million, with annual interest supporting Dance Victoria’s Chrystal Dance Prize. In 2023/24, Dance Victoria will award over $60,000 between two annual awards. These prizes are open to artists living and working in Western Canada (Manitoba, Saskatchewan, Alberta, British Columbia, Yukon, and Northwest Territories). The Projects award for independent dance artists supports exceptional projects with an international artist (choreographer or interpreter). The Training award supports emerging Western Canadian dance artists continuing their full-time training at an international institution.

CDP Artist Spotlight This spring, Dance Victoria will co-present on the nature of… with recent Chrystal Dance Prize – Projects winner Amber Downie-Back. This interdisciplinary dance performance and installation work explores feelings of being adrift in a sense of self and memory. In collaboration with Emilie van der Waals and Angus Gaffney, the work incorporates interactive elements for audience and performers. on the nature of… examines the transformative processes of life and how they are reﬂected in sensitive coastal ecosystems. The piece asks: How do we traverse life’s constantly shifting tides? Dance Victoria is proud to support local artists throughout their artistic processes — from research to creation, technical exploration, outreach, and performance. Stay tuned for an announcement of on the nature of… performance dates and ticket information in early 2024!

In 2022/23, the winners of the Projects award were Julia Taffe of Aeriosa Dance Society, Shion Skye Carter, and Amber Downie-Back. Winners of the Training award were Bryn Bridgen who will begin her Professional Certiﬁcate studies at GibneyPRO, and Margarette Bernal who will attend The Ailey School (Alvin Ailey American Dance Theater). Ms. Bernal was also the recipient of the Arabella and Robert Award for Dance for emerging artists, which is open to dancers from across Canada who are continuing their training at an international dance conservatory or institution. Winners are selected by a committee of dance professionals. Applications for the Chrystal Dance Prize — Projects are due in October while the deadline for Chrystal Dance Prize – Training is in April. Visit DanceVictoria.com for details. DV

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COMPAGNIE HERVÉ KOUBI

F R A N C E /A L G E R I A // C O N T E M P O R A RY

The Barbarian Nights, or The First Dawns of the World CHOREOGRAPHY Hervé Koubi MUSIC Sir Georg Solti and Weiner Philharmoniker; W.A. Mozart; Gabriel Fauré; Kodo; Armand Amar; Joseph Bishara; Howard Shore; Sequentia; traditional Algerian melodies

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Photo (facing page): Compagnie Hervé KOUBI in The Barbarian Nights by Didier Philispart. This page: Compagnie Hervé KOUBI in The Barbarian Nights by Frédéric de Faverney

A Universal Culture Linked Through a Common Past

As the stage lights darken, a man climbs atop the shoulders of others and towards the light. Then they take their leave together, a brotherhood of men, carrying the weight of their stories and histories on their shoulders, still reaching and walking towards the future… Dance Victoria presented Compagnie Hervé KOUBI’s What the day owes to the night during our inaugural Virtual Home Season in 2021/22. The performance’s dazzling blend of gymnastics, modern dance, Capoeira, breakdance, and ballet swept us away to another world. Its sequel, The Barbarian Nights, or The First Dawns of the World, brings us back. The Barbarian Nights takes root in humanity’s origins in the Mediterranean basin and provides an alternative view to the stereotypes of the infamous “barbarians.” Often portrayed as ruthless savages, they were also free men ﬁercely guarding their liberties. Koubi wants us to question mainstream ideas that create an “us and them” dichotomy. Were the barbarians uncivilized, lacking humanity, and violent? Why did the etymology of “barbarian” develop as it did, and is it accurate? Koubi’s interest in one’s origins — for him, the Mediterranean and Algeria — is personal. When he was 25, Koubi’s father broke the news that he and Koubi’s mother were not native French, but Algerian, a designation that for more than a century equated to being a second-class citizen in France. When his parents moved to France from their North African homeland in the early 1960s, they were “treated like savages,” even though they had defended French interests. In response, Koubi explains that they “erased themselves” to assimilate and never spoke about their family origins. Koubi says, “As I was vainly attempting to search for reconciliation with the land of my ancestors in Algeria, new ties have instead emerged. Ties that have allowed me to reap a deeper understanding of my own background and roots. I’ve met fellow artists, witnesses of a lost story. I’ve met those who I love to call my lost brothers. I’ve rediscovered the desire to surround myself with others and I’ve returned with a thirst to create this new adventure.” In The Barbarian Nights, audiences will experience a sense of brotherhood and unity despite cultural differences. Compagnie Hervé KOUBI’s dancers from Algeria, Morocco, France, and Burkina Faso draw us into an ancient Mediterranean world and reveal the beauty of a universal culture linked through a common past. Even the music is timeless, as 13 street dancers move with stunning ﬂuidity against a musical background of Wagner, Mozart, Fauré, Japanese drumming (Kodo), congas (by French composer Armand Amar), and traditional Algerian chants. DV

IN SEARCH OF HIS ROOTS

“…I would like to give life to my dreams as a child born in France who discovered belatedly his true origins and those of his parents, Algerians from birth.” In 2009, Hervé Koubi went to Algeria in search of his roots and to ﬁnd Algerian dancers to perform in a new work taking shape in his mind, the ﬁrst step that would culminate in 2013 with the premiere of What the day owes to the night. Koubi and Guillaume Gabriel (cofounder/manager of Compagnie Hervé KOUBI), posted messages on social media prior to their trip, explaining that they were looking for dancers. On the day of the casting, 250 showed up, 249 of them young men. Most had backgrounds in hiphop, street dance, and Capoeira (Brazilian martial arts), or were selftaught. Koubi ended up bringing 12 men back to Cannes to be in his company, calling them his “found brothers.” They are Algerian, Moroccan, Burkinabé, Israeli, Palestinian, and French — a reminder that “there have always been diverse communities able to exist together in harmony.” “There’s an intensity and authenticity that arise directly from the North Africans who are performing it,” Gabriel says. “Hervé wants to put people together and try to unify people and never forget we have a belonging that is older than nations. Too often we are split between Catholics and Muslims and Jews and North Africans and Europeans and black and white. We are historically blind to see that we could and should live together.”

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MEET THE CHOREOGRAPHER

Hervé Koubi pieces, he collaborated with the writer Chantal Thomas (Les Supremes) and Benesh Movement notator Romain Panassie (Bref sejour chez les vivants). In 2009, he started a collaboration with Ivory Coast dancers from Beliga Kope Company for Un rendezvous en Afrique. Furthermore, Koubi has collaborated alongside videographers for several dance video projects such as Chic Chef (2009) with Max Vadukul for Yoji Yamamoto, Bodyconcrete (2010), and Ovoid edges (2012) with Pierre Magnol, and Bodyconcrete 2 (2011) with Michel Giumbard and Pierre Magnol. Since 2010, Koubi has led a team of Algerian and Burkinian collaborators on a journey creating powerful works, such as El Din (2010–2011), Ce que le jour doit à la nuit (2013), Le rêve de Lea (2014), Des hommes qui dansent (2014), and Les nuits barbares ou les premiers matins du monde (2015–2016). Hervé Koubi is regularly invited by professional training schools throughout France as well as abroad. In July 2015, he was awarded Chevalier des Arts et des Lettres by Brigitte Lefèvre.

Photos: Hervé Koubi photo by Didier Philispart; Compagnie Hervé KOUBI in The Barbarian Nights by Pierangela Flisi

With roots in Algeria, Hervé Koubi worked as a pharmaceutical doctor before deciding to concentrate on a career as dancer and choreographer. He studied at the International Dance Center Rosella Hightower in Cannes and later at the Opera of Marseilles. In 1999, he joined the Centre Choreographique National de Nantes. Afterwards, he worked with Karine Saporta of the Centre Choreographique National de Caen and Thierry Smits Company Thor in Brussels. In 2000, Koubi created his first project Le Golem. Since then, he has collaborated with Guillaume Gabriel. He created Ménagerie (2002) and Les Abattoirs, fantaisie... (2004). In 2006, Koubi worked with musician Laetitia Sheriff on the creation of 4’30. In 2007, he reworked a moving show Les Heures Florissantes with the famous La Croisette in Cannes created back in 1997. During the same year, forging contemporary and hip-hop moves for his first time, he created Moon Dogs. In 2008, Koubi spearheaded the creation of three choreographic pieces based on the following writings: Coppelia, une fiancee aux yeux d’email..., Les Supremes, and Bref sejour chez les vivants. For these

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IN THE COMMUNITY

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Photo: Ballets Jazz Montréal dancer Astrid Dangeard in Les Chambres des Jacques by Sasha Onyshchenko.

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Big savings are available for Dance Victoria’s Dance at the Royal performances for 12 to 29year-olds! Our popular Pay Your Age program is back with special discount pricing for our four Dance at the Royal Series shows, as well as special presentations of Circa and Õkāreka Dance Company. Call or visit the Royal McPherson Box Ofﬁces, tell them your age, and they’ll give you a ticket for the best seat in the house that’s priced the same as your age (plus a small handling fee). Bring proof of age photo I.D. when you pick up the ticket. That’s it! More information about Pay Your Age is available at DanceVictoria.com.

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CIRCA

B R I S B A N E , A U S T R A L I A // C O N T E M P O R A RY C I R C U S

Humans 2.0 CREATED BY Yaron Lifschitz AND THE Circa Ensemble MUSIC Ori Lichtik

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Beyond the Big Top

Photo (facing page): Circa in Humans 2.0 by David Kelly; This page: Circa in Humans 2.0 by Yaya Stempler

For most, the word ‘Circus’ summons images of colourful tents, sequined tights, and over-the-top antics. Those walking away from seeing Circa will appreciate the form in a whole new light. The 10-member company’s Victoria debut in 2024 coincides with its 20th anniversary practicing and innovating the art form that has come to be known as ‘contemporary circus.’ Blurring the lines between circus, theatre, dance, and athletics, Circa’s approach and aesthetic are stripped down, dropping the frippery traditionally associated with the form so that audiences can better marvel at the pure human achievement. Company founder and Humans 2.0 director Yaron Lifschitz, arrived at circus via an unconventional path. After training and excelling in theatre, he discovered he “didn’t like plays very much because they were full of people talking about stuff that didn’t happen.” Moving away from the literal nature of scripted theatre, Lifschitz pioneered the unique form of physical spectacle that has made Circa a regular feature on stages and at festivals around the world. In Humans 2.0, a sequel of sorts to the company’s 2017 Humans, Lifschitz goes farther than ever in pushing the boundaries of what circus can be — and what limits exist for the human body. Describing the

work, he tells us, “Let’s think of ‘human’ not as a noun but rather as a kind of verb… It is not what we are but how we are that fuels the show — how we connect, attract, repel and attach.” Weaving in and out of individual and group conﬁgurations, the 10-member company is propelled by Ori Lichtik’s pulsing electronic score through a tight choreography of balances, leaps, throws, and falls. As audiences watch these bodies soar, tumble, and support, we invite you to meditate on the hidden deeper meaning of this work’s title. Is there a way that humanity might grow and be improved? Might it come from pushing our own limits or accepting them? Can we ever ﬁnd equilibrium, or is constantly adapting to change our only way forward? Lifschitz offers no literal answers, leaving us to draw our own conclusions from this innate, primal, and deeply engaging work. DV

Circa acknowledges the assistance of the Australian Government through Creative Australia, its principal arts investment and advisory body and the Queensland Government through Arts Queensland. Humans 2.0 is commissioned by The Mondavi Center, UC Davis.

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MEET THE CREATOR

Yaron Lifschitz DIRECTOR, Humans 2.0

Yaron Lifschitz’s productions have been presented at major festivals and venues that include Brooklyn Academy of Music (BAM), the Barbican, Les Nuits de Fourvière, Chamaeleon, and all the major Australian festivals. His ﬁlm work was selected for the Berlin and Melbourne Film Festivals. He was founding Artistic Director of the Australian Museum’s Theatre Unit, Head Tutor in Directing at Australian Theatre for Young People, and has been a regular guest tutor in directing at NIDA. Lifschitz is currently Artistic Director and CEO of Circa, and was Creative Director of Festival 2018: the arts and cultural program of the 21st Commonwealth Games.

Photos (clockwise from top left): Yaron Lifschitz by Jessica Connell; Circa in Humans 2.0 by Lesley Martin; Circa in Humans 2.0 by Pedro Greig

Yaron Lifschitz is a graduate of the University of New South Wales, University of Queensland, and National Institute of Dramatic Arts (NIDA), where he was the youngest director ever accepted into its prestigious graduate director’s course. Since graduating, Lifschitz has directed over 60 productions including large-scale events, opera, theatre, physical theatre, and circus. His work has been seen in more than 40 countries and across six continents by over 1.5 million people, and has won numerous awards including six Helpmann Awards and the Australia Council Theatre Award.

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NRITYAGRAM DANCE ENSEMBLE IN COLLABORATION WITH

CHITRASENA DANCE COMPANY B A N G A L O R E , I N D I A & S R I L A N K A // C L A S S I C A L I N D I A N

Āhuti ARTISTIC DIRECTOR / CHOREOGRAPHER / SOUND DESIGNER Surupa Sen MUSIC COMPOSER Pandit Raghunath Panigrahi RHYTHM COMPOSERS Dhaneswar Swain (India), Presanna Singakkara (Sri Lanka), Surupa Sen

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Photo (facing page): Nrityagram by Karthik Venkataraman. This page (clockwise from top left): Nrityagram dancers Pavithra Reddy and Thaji Dias in Āhuti by Ravi Shankar; Nrityagram by Karthik Venkataraman; Nrityagram by Karthik Venkataraman

Something Old, Something New

Each season, Dance Victoria’s presentations highlight artistic excellence from around the globe. But rarely is there an offering like Āhuti, which offers windows into multiple worlds. The production is about dualities and dialogues. Āhuti showcases India’s Odissi dance with Sri Lanka’s Kandyan. It pays reverence to these ancient forms, while pushing contemporary boundaries. Even the work’s name has no single translation, meaning ‘invoking’ in Sanskrit and ‘offering’ in Pali. Audiences who attended Dance Victoria’s presentation of Shumka’s Nutcracker, where classical ballet lived alongside folk dance, may find compelling echoes in this program. Odissi dance is a classical form that finds its origins in the temple of coastal India’s Odisha region. Its structured and formalized movements can be found on the walls of temple ruins, indicating that its practice reaches back to at least 200 BCE. The artists of Nrityagram Dance Ensemble, recognized as being ‘among the world’s greatest dancers’ by The New York Times, are both keepers of and innovators in the ancient Odissi form. The Chitrasena Dance Company is Sri Lanka’s oldest and most prestigious dance company, founded by Guru Chitrasena in the 1940s. The company is credited with bringing its country’s traditional dances from village rituals to modern stage. Hailing from Sri Lanka’s Kandy region, Kandyan dance is an indigenous traditional dance form rooted in folk tradition and lore. According to legend, the origins of the dance lie in an exorcism ritual known as the Kohomba Kankariya, which was performed by shamans who came to the aid of a king suffering a mysterious illness. Joined on stage by an ensemble of five instrumentalists and a vocalist, the union of these two world-class companies will unfold in four movements. In the evening’s first half, Sankirtanam (a prayer) offers praise to Lord Krishna, while Poornāratī (complete offering) draws upon traditional temple rituals seeking to access the highest state of being in the performers. Returning from intermission, Invoking Shiva is a powerful calling to the Hindu God of Dance and Destruction. The evening culminates in the colourful and energetic Ālāp, where Odissi and Kandyan traditions collide in an attimes playful, at-times challenging embrace of the two forms in space. DV

DANCE AS A WAY OF LIFE

Literally translating as ‘Dance Village’, Nrityagram is located on 10 acres of farmland outside Bangalore, India. The community identiﬁes itself as India’s ﬁrst modern Gurukula, an ancient education system where shishya (students) live closely and study under a guru or gurus. All members of the Nrityagram Dance Ensemble, along with a community of more than 100 students, live, work, study, and play on the grounds of this dance village. In addition to their schooling in traditional Odissi forms, dancers are taught yoga, meditation, and martial arts along with Sanskrit and ancient dance scriptures. The result of this dedication is a company whose dancers do not simply practice their art — but live it. It is a distinction that can be readily felt by any audience who is so fortunate to be present for this embodied, vibrant ensemble.

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MEET THE CHOREOGRAPHER

Surupa Sen CHOREOGRAPHER, Āhuti

line. Attracted to choreography from childhood, Sen has focussed on making new dances using an expanded Odissi language rooted in traditional Odissi and the Natyashastra, the oldest surviving ancient Indian work on performance arts. She has choreographed seven full-length ensemble shows for Nrityagram, which are Śrī: In Search of the Goddess (2000), Ansh (2004), Sacred Space (2006), Pratimā: Reﬂection (2008), Śriyaḥ (2011), Sam . hāra (2012), and Āhuti (2019); two full-length duet shows Sam . yoga (2012) and Songs of Love and Longing (2013); and one solo show Yadunandana (2017).

Surupa Sen photo supplied; Nrityagram by Karthik Venkataraman. This page (clockwise from top left): Nrityagram dancer Thaji Dias by Sujith Kumar; Nrityagram dancer Thaji Dias by Shachi Phene; Nrityagram by Karthik Venkataraman

Surupa Sen was the ﬁrst student to graduate from the Nrityagram Gurukul and today serves as its Artistic Director and choreographer. Sen began her Odissi training under the architect of Odissi, Guru Kelucharan Mahapatra. She also studied Odissi with Guru Protima Gauri, and Abhinaya (expressional dance) under Guru Kalanidhi Narayanan. For over two decades, Sen worked with Bijayini Satpathy to research and expand the dance vocabulary of Odissi, developing an aesthetic style that distinguishes the dancers from the Nrityagram Gurukula (School). As a child, she studied Bharatanatyam, to which she attributes her preoccupation with form and

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IN THE COMMUNITY

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ÕKĀREKA DANCE COMPANY A O T E A R O A ( N E W Z E A L A N D) // C O N T E M P O R A RY I N D I G E N O U S M Ā O R I

Mana Wahine CHOREOGRAPHY Taane Mete, Taiaroa Royal and Malia Johnston MUSIC/SOUNDSCAPE Victoria Kelly CHANT Tui Matira Ranapiri-Ransﬁeld

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The Heroine’s Journey

Photo (facing page): Õkāreka Dance Company in Mana Wahine by Alex Eﬁmoff; Õkāreka Dance Company in Mana Wahine by Alex Eﬁmoff. This page (top to bottom): Õkāreka Dance Company in Mana Wahine by Kelly Nash

The seed of inspiration for Mana Wahine lies in the true story of Te “Õkāreka Dance Company has hit Aokapurangi, a young Māori woman from Rotorua. Captured in battle by a the jackpot with this exploration of tribe from the Far North, she would return home many years later to the strength, the spirit, the wiles single-handedly save her people from slaughter. and primal beauty of women, When Õkāreka Co-Artistic Director Taiaroa Royal learned that he was specifically Māori women. Five one of Te Aokapurangi’s ancestors, he was deeply moved. “It struck a extreme dancers, three chord within me. I just wanted to make a work about the essence of choreographers at the top of their women and how beautiful they are and the integrity they have, the hard game, a totally in-tune composer, work, the strength, the mana.” exquisite lighting and audio-visual To create the work, he collaborated with Co-Artistic Director Taane Mete design, and a wealth of cultural and Movement of the Human Founder & Creator Malia Johnston. Rather wisdom come together in one of than dividing the work into distinct segments, the trio engaged in an the best contemporary dance unconventional process of layering ideas, choreography, and intentions performances we have seen in over one another — creating a work of true co-authorship. years.” —New Zealand Herald This quality of choreographic layering is amplified by other creative team contributions. As Māori Cultural Advisor to the piece, Tui Matira Ranapiri-Ransfield infuses the work with her knowledge of traditional song, dance, and weaponry. These ancient elements are contrasted with highly sophisticated multimedia projections from AV Designer Rowan Pierce. Finally, the powerhouse all-female cast contributes to the creation, weaving in stories of their own matrilineal ancestors. The ultimate result is a dreamlike work that transcends space and time as it takes audiences on a journey from creature to motherhood; life force to the spirit world; and the honouring of mother earth to sky father. In its movements and in its message, Mana Wahine embodies the courage, determination and fearlessness of womankind — offering a profound tribute to the tremendous strength of women around the world and throughout history. DV

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MEET THE CHOREOGRAPHERS

Taane Mete

Taiaroa Royal

CHOREOGRAPHER, Mana Wahine

Taane Mete graduated with honours from the New Zealand School of Dance in 1988. His performing experience has seen him dance with companies such as Footnote Dance Company, Douglas Wright Dance Company, Taiao Dance Company, Fusion Dance Theatre, Michael Parmenter’s Commotion Company, The Royal New Zealand Ballet, The Human Garden, Mau Dance and Atamira Dance Company. In 2005 and 2006, Mete worked as a television presenter for the program Takataapui. Taane graduated from the Leadership New Zealand Program in 2008 and continues to advocate for a leadership role in the dance community. Now into his 30th year as a performer, Mete continues to develop exciting new projects in Õkāreka Dance Company’s repertoire.

Taiaroa Royal trained at the New Zealand School of Dance, graduating in 1984. He has since performed with major dance companies both at home and abroad, including The Royal New Zealand Ballet, Douglas Wright and Dancers, Michael Parmenter’s Commotion Company, Black Grace, Orotokare, and Atamira Dance Company. Royal has successfully choreographed many highproﬁle events across Australasia including the Brancott Estate World of Wearable Arts Awards in Wellington, Auckland’s Christmas in the Park and over the past three years has choreographed operas for NZ Opera. Royal is also part of the teaching faculty at the UNITEC Bachelor of Performing Screen Arts and has taught at The New Zealand School of Dance as well as many private dance schools.

Malia Johnston

Malia Johnston is the founder and director of New Zealand’s Movement of the Human (MOTH), through which she produces her own productions in dance, theatre, outdoor events and creative extravaganzas. Johnston is commissioned on a regular basis to create performance works for companies and the tertiary dance environment, and has built up a signiﬁcant repertoire of physical and technically focused works since 1999. She also works with theatre Director Emma Willis, with whom she has created four full-length physical theatre works since 2007. From 2002 to 2014, and again in 2018 for its 30th anniversary, Johnston served as Artistic Director and principal choreographer for New Zealand’s World of Wearable Art Awards Show, as well as choreographer and stage director.

Photos supplied by Õkāreka Dance Company

CHOREOGRAPHER, Mana Wahine

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BALLETS JAZZ MONTRÉAL

M O N T R É A L , C A N A D A // C O N T E M P O R A RY

Essence We Can’t Forget About What’s His Name CHOREOGRAPHY Ausia Jones MUSIC Jasper Gahunia Ten Duets on a Theme of Rescue CHOREOGRAPHY Crystal Pite MUSIC Cliff Martinez Les Chambres des Jacques CHOREOGRAPHY Aszure Barton MUSIC Gilles Vigneault, Antonio Vivaldi, Les Yeux Noirs, The Cracow Klezmer Band & Alberto Iglesias (Les Chambres)

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All That Glitters

Photo (facing page): Ballets Jazz Montréal in Les Chambres des Jacques by Sasha Onyshchenko. This page (clockwise from top left): Ballets Jazz Montréal in Ten Duets on a Theme of Rescue; Les Chambres des Jacques; and We Can’t Forget What’s His Name by Sasha Onyshchenko.

When Ballets Jazz Montréal (BJM) prepared to mark its golden 50th Anniversary season in 2022, they set out to assemble a program that glittered every bit as much as the milestone’s traditional gift. The end result is a triple bill of all-female choreographers that pays homage to the company’s roots — but also maps a future for its next 50 years. The program opens with We Can’t Forget About What’s His Name, a new creation from company member and rising star Ausia Jones. Jones joined BJM in 2020 after previously having mentored under William Forsythe. Her debut creation for the company touches on the idea of uncertainty and how it inﬂuences moments of connection. Exploring the concepts of time, community, togetherness, and isolation, this work reﬂects the extreme emotions that uncertainty creates in our lives as well as the space it allows for freedom and joy. Choreographer Crystal Pite’s contribution, Ten Duets on the Theme of Rescue, a classic showcase of the renowned creator’s singular style, blending humour, invention, and insight into a deeply human work.

Describing her inspiration, she shares, “I love the word ‘rescue.’ It captures a whole story in a single word. Similarly, the body can convey a narrative through the simplest of actions.” In each of the duets, Pite aims to isolate and expose a single image of such a rescue. Concluding the program is Aszure Barton’s riotous romp Les Chambres des Jacques. The work was received with acclaim by the New York Times, which declared it, “a rare instance of a dance that feels as if it were plucked straight from the choreographer’s extremely speciﬁc imagination and set, fullgrown, onstage.” In creating the work, Barton became deeply inspired by her conversations with the company’s dancers — and wove their diverse, eclectic, and authentic selves into the movement. The end result is an uninhibitedly joyful and human creation. Essence is the perfect note on which to start BJM’s next 50 years and for Dance Victoria to conclude its 2023/24 Season. DV

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MEET THE CHOREOGRAPHERS

Ausia Jones

Crystal Pite

CHOREOGRAPHER, We Can’t Forget About What’s His Name

CHOREOGRAPHER, Ten Duets on the Theme of Rescue

Originally from Dallas, Texas, Ausia Jones received her Bachelor of Fine Arts in Dance with a focus on choreography at the USC Glorya Kaufman School of Dance. During her time at USC Kaufman, Jones received training at Hubbard Street Dance Chicago, Alvin Ailey American Dance Theater, Orsolina Forsythe/Pite, and Jacob’s Pillow Dance Festival., before joining BJM in 2020. She has choreographed at Booker T. Washington HSPV in Dallas, TX; USC Kaufman Choreography in Los Angeles, CA; and New York Live Arts in New York, NY. Among her accomplishments, Ms. Jones is the Orion Choreographic Fellowship Recipient, Toulmin Creator Grant Recipient, White Bird panelist for “Celebrating Black Women in Dance”, YoungArts Honorable Mention in Choreography and Modern Dance, and 2020 USC Deans Scholarship (Quarter-Tuition Academic Award).

In a choreographic career spanning three decades, Crystal Pite has created more than 50 works for dance companies in Canada and around the world. Pite began her dance career as a company member of Ballet British Columbia (Ballet BC), then William Forsythe’s Ballett Frankfurt. She made her choreographic debut in 1990 at Ballet BC, and since then has created works for such prominent companies as The Royal Ballet, The Paris Opera Ballet, Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Ballets Jazz Montréal (resident choreographer 2001–04), and Cedar Lake Contemporary Ballet. In 2002, she formed Kidd Pivot, a company that is world-renowned for radical hybrids of dance and theatre that are assembled with a keen sense of wit and invention. Kidd Pivot tours internationally with critically acclaimed works such as Betroffenheit and Revisor (both co–created with playwright Jonathon Young), The Tempest Replica, Dark Matters, Lost Action, and The You Show. Crystal Pite is a Member of the Order of Canada. Other awards and honours include the Benois de la Danse, Canada Council Jacqueline Lemieux Prize, Grand Prix de la danse de Montréal, two UK Critics’ Circle Dance Awards, three Laurence Olivier Awards, and an honorary doctorate from Simon Fraser University.

Aszure Barton

Born and raised in Alberta, Canada, Aszure Barton received her formal training at the National Ballet School in Toronto, where, as a student, she helped originate the ongoing Stephen Godfrey Choreographic Showcase. Barton has collaborated with and created works for Mikhail Baryshnikov, Fang Yi Sheu, Ekaterina Shipulina/Bolshoi Ballet, The National Ballet of Canada, Alvin Ailey American Dance Theater, Bayerisches Staatsballett, American Ballet Theatre, The Martha Graham Dance Company, Nederlands Dans Theater, Hubbard Street Dance Chicago, and Ballets Jazz Montréal (Resident Choreographer 2005– 08), among many others. Other work includes choreography for the Broadway revival production of The Threepenny Opera directed by Scott Elliott (translation by Wallace Shawn and starring Alan Cumming, Jim Dale, Nellie Mackay, Ana Gasteyer,

and Cyndi Lauper), and numerous film and television projects, including the Sundance Channel’s Iconoclasts Series with Mikhail Baryshnikov and Alice Waters. Aszure Barton was the first artist in residence at The Baryshnikov Arts Center in 2005 and has been an artist in residence at The Banff Centre since 2009. She was proclaimed an official Ambassador of Contemporary Choreography in Canada and, more recently, received The Koerner Award for Choreography. In 2012, she was honoured with Canada’s prestigious Arts & Letters Award, joining the ranks of Oscar Peterson, Eugene Levy, Karen Kain, and Christopher Plummer. She is the proud founder and director of Aszure Barton & Artists, a collective of visual, sound, and performing artists.

Aszure Barton by Robert Seiwert; Ausia Jones by Cathryn Farnsworth; Crystal Pite by Anoush Abrar

CHOREOGRAPHER, Les Chambres des Jacques

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STUDIOS

A Nationally Recognized Centre for Dance Creation

Dance Victoria is best known for its Dance at the Royal series bringing the World’s Best Dance to Victoria, but the heart of what we do is at Dance Victoria Studios. Located in Quadra Village, Dance Victoria Studios have become a valued community asset. Our annual Artist Residency Program offers local and regional dance artists free studio access, mentorship, technical support, and a direct ﬁnancial contribution. We strive to enable choreographers from diverse backgrounds, experience levels (emerging to established), and disciplines to develop their artistic vision through research/ exploration, creation, outreach, and performance. In 2023/24, Dance Victoria offers residencies to 11 dance artists and collectives, furthering our mandate as a creation hub for new works. We’ll share the works of these artists throughout the year at live presentations in our studios, online, and in the community. DV

Studio Rentals

Dance Victoria Studios are located at 2750 Quadra Street in Victoria and are available to rent for dance classes, rehearsals, and dancerelated events. With support from City of Victoria, the Vernon & Shaw Studios have been equipped and upgraded with LED lighting, curtains, and more. The two studios together can be used for enhanced ﬁlming or transformed into a black box performance space. Our mandate is to rent our three studios to local dancers and dance professionals. We also rent to ﬁtness instructors and other arts organizations in the community. Dance Victoria supports the work of local dance artists through its Studio Access Program. Visit DanceVictoria.com for more information. Dance Victoria Studios 2750 Quadra Street Victoria, BC V8T 4E8 250-595-1829 For studio rental inquiries, contact studios@dancevictoria.com.

Row 1: Amber Downie-Back; Stacey Horton; Cora Kozaris; Suddenly Dance Theatre - David Ferguson Row 2: Isak Enquist and Eowynn Enquist; Kiera Shaw; Fiana Kawane; Angela Mousseau Row 3: Visible Bodies Collective; Inverso Productions - Lesley Telford; The Falling Company Visible Bodies Collective by Dean Kalyan; Lesley Telford by Michael Slobodian; The Falling Company by Richie Lubaton

Photos starting top row (from L to R): Amber Downie-Back by Niks Vignal; Stacey Horton by Bethany Schiedel; Cora Kozaris by Richie Lubaton; David Ferguson; Isak Enquist and Eowynn Enquist by Lula-Belle Jedynak; Kiera Shaw by iframe50x; Fiana Kawane by Devansh Jhaveri; Angela Mousseau by Veronica Bonderud Photography;

Dance Victoria Residencies

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The best way to support a community is to be a part of it. At the heart of every community, you’ll ﬁnd organizations fueled by committed people who are passionate about building a better future for us all. We are inspired by our friends at Dance Victoria Society and their continuous efforts to showcase the world’s best dance at the Royal Theatre while supporting the development of new dance from its professionally outﬁtted studios in Victoria’s Quadra Village.

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ABOUT

Board of Directors

Dance Victoria is mandated to enhance the appreciation of dance in the Capital Region by presenting and developing professional dance, supporting emerging artists and choreographers, and engaging the community in the experience and celebration of dance. Meet the dedicated Board of Directors who support the organization in realizing its mandate. DV

Photos provided by board members shown.

Elected at Annual General Meeting on November 5, 2023.

Colette Baty, President

Brendan Ralfs, Vice-President

Joost Pelt, Treasurer

Sarah Millard, Secretary

Kemi Craig, Director

Linley Faulkner, Director

Marlon Murr, Director

Philip Pierce, Director

Carrie Smart, Director

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SUPPORT

Your Support Matters

Designing the Future

For over 25 years, Dance Victoria has presented the World’s Best Dance, bringing internationally acclaimed companies, new commissions, and innovative, diverse emerging artists to the stage. At the same time, we are deeply invested in this community. No other dance presenter of our scale invests close to $100,000 annually to support advanced training and residencies for local artists that provide vital space for exploration and growth. In the 2022/23 season, Dance Victoria continued to strengthen our connections and partnerships in the community, prioritizing equity, inclusion, and access. Below are just a few examples of what we accomplished: • Over 250 children and families saw Royal Winnipeg Ballet’s Nutcracker, free-of-charge. For over 10 years, our Nutcracker Kids program has distributed tickets to community partners such as Victoria Women’s Transition House, Inter-Cultural Association of Greater Victoria, and Native Friendship Centre; • One hundred local dance students experienced masterclasses led by all four Dance at the Royal companies; • Thirty-two newcomers to Canada attended sold-out performances of Dance Theatre of Harlem through our newest initiative, Dance Is For Everyone; • Fourteen artists/collectives received free studio time, mentorship, and ﬁnancial support in residence at our Quadra Village Studios. Over 1,000 hours of studio access were donated to local artists; and • Dance Victoria awarded over $55,000 to Western Canadian artists to support dance creation and training through the Chrystal Dance Prize.

To the amazing donors and sponsors who already so generously support Dance Victoria: thank you! We would not exist without the leadership and enthusiasm of people like you. Your commitment is critical as we continue to deepen Dance Victoria’s impact and envision the future of this organization together. To those who are newer to Dance Victoria (or perhaps attending a performance for the ﬁrst time): We invite you to consider how engaging with Dance Victoria could be most meaningful to you. There are many ways to get involved, including donating, volunteering, board service, community engagement, or applying for an artist residency, to name a few. Charitable gifts of any size are meaningful, and can take the form of tax-deductible donations, business sponsorships, contributions to our endowment, legacy gifts, donor-advised funds, and gifts of stock, securities, or other assets. We encourage you to approach our staff if you’re interested in making a gift, getting involved, or if you have another idea for supporting our work. We’d love to meet you. DV

ALL OF OUR DONORS RECEIVE:

–Acknowledgement in Dance Victoria’s house program –A charitable tax receipt (for donations $10 or greater) in accordance with the Canada Revenue Agency

Friend ($10–$99) –Voting privileges at the Society’s Annual General Meeting

Associate ($100–$249) All of the above listed benefits plus: –Three issues of our popular digital Footnotes newsletter Supporter ($250–$499) All of the above listed benefits plus: –Invitations to post-show receptions at the Royal Patron ($500–$999) All of the above listed benefits plus: –Invitations to exclusive studio showings of new works, or other events, including artist conversations and receptions President’s Circle ($1,000–$2,499) All of the above listed benefits plus: –Invitation to a backstage tour (when available) Visionary ($2,500 +) All of the above listed benefits plus: –Invitation for a personal meet & greet with the Artists, Creative and Production teams (when available)

About Dance Victoria

Dance Victoria Ofﬁce & Studios

Dance Victoria Staff

Dance Victoria Society is a federally registered charity. Charitable Registration #87377 5522 RR0001

#111 – 2750 Quadra St. V8T 4E8 Phone 250-595-1829 Website DanceVictoria.com Email info@dancevictoria.com Facebook /DanceVictoria Instagram @dance_victoria

Gillian Jones Executive Director Dayna Szyndrowski General Manager Shireen McNeilage Development & Operations Manager Anne-Sophie Cournoyer Marketing Manager Holly Vivian Production Manager Larissa Sharma Community Engagement Manager Kiera Shaw Artist Programs & Studio Manager Rayola Creative Graphic Design Bonnie Light Advertising Sales promote@bonnielightadvertising.com

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SUPPORT

Planned Giving

Anyone Can Leave a Legacy

Have you ever thought about the impact dance has had on your life? Or on the lives of the people you love? Whether we have been in the audience as a dance appreciator, or involved directly in dancing or dance-making, many of us have fond memories of attending or participating in a first dance performance or class. These opportunities are sometimes taken for granted until we look back to see what events, resources, and people in our lives gave us access to be inspired and enriched by dance. At Dance Victoria, we work hard to seek out and entice world-renowned dance companies to perform at our beautiful historic civic theatres in front of our engaged and appreciative audience — and we strive to create and expand opportunities for added community access with these artists. With approximately 50% of Dance Victoria’s revenue coming from ticket sales, we rely on the support of funders at all levels of government, foundations, sponsors, and — importantly — individual donors. We invite you to consider the impact you could make on the lives of others by thinking now about a bequest or other planned giving including the donation of securities or other future gifts. A considered plan today can realize your philanthropic gestures and enable you to enjoy the rewards of your generosity firsthand. We welcome the opportunity to discuss how your bequest or ongoing legacy gift can contribute to Dance Victoria’s continued success as we embark on our 27th season. Learn more about giving options and find resources at dancevictoria.com/support/legacy. DV

BEQUESTS

If you have already included Dance Victoria in your will, we are truly grateful. We also would love to hear this news so we can say a quiet “thank you” to you… and also because this information puts us in an informed position when we plan budgets and expenditures for programs we can offer in the future. Bequests can include gifts such as life insurance or RRSPs. DONATION OF STOCKS OR SECURITIES

These gifts have extra beneﬁt to you — and to the organization you are supporting — because you do not pay capital gains tax on these donations. Donations of stocks or securities can be made now as part of your living legacy so you can see the impact of your generosity today.

We highly recommend that any Planned Giving decisions are made in consultation with advisors and family members so that those close to you understand your wishes.

Alysa Pires credits Dance Victoria

Photo: Alysa Pires by Karolina Kuras

Dance Victoria’s Community & Artist Engagement programs have impacted the lives of so many young people and families with financial barriers — including the lives of young dance enthusiasts who have benefitted from our Pay Your Age ticket access program for 12–29 year olds. Here’s the experience of one former Victoria resident who recently became the “first Canadian woman to create work for New York City Ballet” (New York Times, June 2023). “Growing up in Saanichton, Dance Victoria’s programming was some of my first exposure to professional dance. I distinctly remember seeing Ailey II perform Revelations, Crystal Pite’s mixed programme for Les Ballets Jazz, and Christopher House’s work with Toronto Dance Theatre, among others. These experiences ignited my passion for contemporary dance and showed me the possibilities of pursuing a professional career. Having access to world-class performances at an accessible price point through Dance Victoria’s “Youth Pass” program (now called “Pay Your Age” program) was paramount in the early development of my choreographic life.” – ALYSA PIRES, CHOREOGRAPHER

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dance and architecture; disciplines that deﬁne and use space. dance is movement of the human body through space over time and architectural space is experienced through body movement over time. (Juahuang Huang, 1991)

(formerly D’AMBROSIO architecture +urbanism) daustudio.ca | @dambrosioarchitecture

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SUPPORT

Our Supporters

55 Thank you for believing in us!

Every contribution you make to Dance Victoria matters and is appreciated. You can support our general fund, direct your contributions to our presentations, invest in commissions and residencies, or support speciﬁc programs like Nutcracker Kids or Dance Is For Everyone. We’re excited to see Dance Victoria continue to grow and ﬂourish thanks to these supporters and donors! Donations received between October 1, 2022 – October 1, 2023