Footnotes Dance Victoria’s subscriber newsletter. ISSUE 75 • FALL 2023
INSIDE: Dance Days + Compagnie Hervé KOUBI + Inverso Productions + Residuals (住み・墨) + more
Dance Days It’ll move you! January 26 – February 4 Free classes all over town Dance Days Feature Presentation
Inverso Productions Borrowed Time January 27 • 7:30 pm Dance Victoria Studios Running Time: 60 minutes
Dance at the Royal
Compagnie Hervé KOUBI The Barbarian Nights February 2 + 3 • 7:30 pm Royal Theatre Running Time: 75 minutes (no intermission)
Intrepid Theatre’s OUTstages Festival Dance Victoria Co-presentation
Shion Skye Carter Residuals (住み・墨) February 8 + 9 • 7:30 pm Metro Studio Theatre Shion Skye Carter. Photo © Lula Belle Jedynak
Running Time: 70 minutes
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PALCO delegation at the Bienal Internacional de Danza de Cali. Photo courtesy of PALCO
Democratizing Dance By Gillian Jones, Executive Director
Last month, I had the unbelievable opportunity to attend the Bienal Internacional de Danza de Cali [International Dance Biennial of Cali] as part of a small delegation of Canadian dance presenters and artists hosted by Colombia’s Ministry of Culture, Arts and Knowledge and Canadian Association for the Performing Arts (CAPACOA). Over seven days, our group saw 20+ performances by established Colombian companies, collectives and emerging artists; toured performance and training spaces in Cali (including the impressive La Licorera — a liquor distillery recently converted into a dedicated dance and choreographic center); and participated in industry discussions with dance presenters and artists from around the world. A common thread through the week, aside from the beauty of our surroundings and extraordinary hospitality of our Colombian hosts, was the diversity of dance genres, forms, and experience levels we saw presented, side by side. Within the festival performance line-up, for example, were classical ballet, contemporary, Afro-contemporary, folk, salsa, tango, joropo* — all on the same programme, and on the same stages. Three standouts include: • The world premiere of Pacifico Entundao by the internationally-acclaimed Afro-contemporary group Sankofa Danzafro, presented on a grand scale with the live accompaniment of a full symphony orchestra, 50member choir, and a tenor; • A stunning joropo performance by the collective D’Raza, whose founders dance as a means of upholding cultural traditions in their native Villavicencio; and • The Bienal’s exciting Cuerpos Emergentes [Emerging Bodies] series of young choreographers and dance artists — many of whom create in response to the difficult realities of daily life in Colombia, exploring themes of violence, racism, and colonialism.
While chatting with one of the Bienal’s curatorial team, Ana María Ávila, I expressed how refreshing it was to see such wide-ranging diversity in the programme. So often, we define dance, and dance artists, in very rigid categories. The delineations between who is “established” vs. “emerging,” what kinds of dance forms are “professional” vs. “folk” or “cultural” — each of these categories creates a boundary. In the case of the Bienal, dance was dance, no matter if it was a traditional folk dance passed down to a new generation, a high-energy salsa show that will tour regionally, or an urgent call for social justice by Colombia’s young people. In response, Ana shared, “We don’t care so much about the ‘tag’ that is supposed to define or differentiate from contemporary, to urban, to folk. What we really observe and put attention on are the strength of the dancers and the creators’ purposes. We are not attached to categories.” Within the context of curating dance in Colombia, Ana described the importance of addressing “questions of social movements, ethnicity, historic memories, and the peace-building process.” The democratization of dance forms that was embraced at the Bienal was echoed in Cali’s largest training institution, El Instituto Colombiano de Ballet Clásico INCOLBALLET. INCOLBALLET is the only institution of its kind of South America. It welcomes children as young as five years old — many through scholarship programs — to study ballet, contemporary and folk dance alongside their academic courses. Students who graduate from the school may audition for INCOLBALLET’s professional ballet or contemporary companies, both of which tour within Colombia and
Gillian Jones by Jo-Ann Richards Works Photography
A Week in Cali, Colombia
INCOLBALLET campus, Cali, Colombia. Photos: Gillian Jones
internationally. A highlight of our visit was a tour of INCOLBALLET’s campus, located an hour outside of Cali’s historic city centre. We were introduced to students in pointe shoes, dancing on an outdoor stage. Children practiced flute in a traditional music class, while others rehearsed a folk dance, the girls in long black skirts and boys in straw hats and red scarves. Our visit culminated in a performance by three groups of talented young dancers — again spanning classical ballet, contemporary and folk dance. I returned from this experience inspired by what is in motion within Colombia’s dance ecology — and the enthusiasm with which its supporters are upholding all kinds of dance, and all kinds of dancers. As Dance Victoria strives to provide meaningful support to local artists, alongside our mandate to bring the World’s Best Dance to Victoria, I know there are lessons we can take from Cali. I will leave you with one moment of synergy: In November, the Chrystal Dance Prize (CDP) jury deliberated over our 2023/24 Projects applicants. This year, 19 international projects were proposed, and over $420,000 in support requested. One of the questions we consider as a criterion for the CDP is: “Is this project exceptional?” This year, our jury had a lively discussion about how we define “exceptional.” How do we measure excellence, as we are considering such a wide range of dance forms, artists, and perspectives? It is not a question we can simply answer here (or, for that matter, that we were able to solve last week), but I believe the curatorial approach of the Bienal — which was able to uphold innovation, culture, and tradition in the same breath — provides a compelling place to start. With special thanks to PALCO (Plataforma De Artes Escénicas Colombianas), Colombia’s Ministry of Culture, Arts and Knowledge, and CAPACOA. FN *Joropo is considered the national song and dance of Venezuela and translates to “a party” in Spanish. The tradition of joropo extends into Colombia, where it is centred in the city of Villavicencio
Dance Victoria brings the World’s Best Dance to the Royal Theatre and supports the development of new dance for the international stage from its studios in Quadra Village. As a non-profit charitable society, Dance Victoria operates with the mission 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. DanceVictoria.com Dance Victoria Board: President: Colette Baty Vice-President: Brendan Ralfs Treasurer: Joost Pelt Secretary: Sarah Millard Directors: Kemi Craig, Linley Faulkner, Marlon Murr, Philip Pierce, Carrie Smart Staff: Executive Director: Gillian Jones General Manager: Dayna Szyndrowski Development & Operations Manager: Shireen McNeilage Marketing Manager: Anne-Sophie Cournoyer Production Manager: Holly Vivian Community Engagement Manager: Larissa Sharma Artist Programs & Studio Manager: Kiera Shaw Graphic Design: Rayola Creative Advertising Sales: Bonnie Light Advertising If you’d like to volunteer for Dance Victoria, please visit DanceVictoria.com and complete the volunteer form. Studios and Office: #111 – 2750 Quadra Street, Victoria, BC V8T 4E8 DanceVictoria.com Box Office: 250-386-6121 Footnotes is written by Anne-Sophie Cournoyer and Gillian Jones (unless otherwise noted).
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Photos (clockwise from top left): Gibney Company in A Measureable Existence. Photo: Joseph Digiovanna; Jesse Obremski; Connie Shiau. Photos: Amy J Gardner
Left to right: Gillian Jones and Larissa Sharma, Dance Victoria; Connie Shiau and Jesse Obremski, Gibney Company; Holly and Alyssa, Victoria Women’s Transition House staff
Move to Move Beyond With Gibney Company
Larissa Sharma by Jo-Ann Richards Works Photography
By Larissa Sharma, Community Engagement Manager
As the new Community Engagement Manager for Dance Victoria, I’m thrilled to embark on this journey of connecting the vibrant dance world with our diverse community. My role involves implementing inclusive and accessible initiatives that amplify the positive impact of dance. My first major project with Dance Victoria was to organize a workshop facilitated by our 2023/24 season opener, Gibney Company, for clients of Dance Victoria’s long-time partner, Victoria Women’s Transition House (VWTH). Based in New York City, Gibney Company is a worldclass contemporary dance company that uniquely combines art and community action through social justice programming. Gibney’s evidence-based Move to Move Beyond (MTMB) program was established in 1999 and is led by Gibney’s “Artistic Associates.” On top of dancing with the company, Artistic Associates have extensive experience in trauma-informed practices and specialized training around gender-based violence. Their facilitation helps survivors build self-esteem through positive physical expression. Gibney Company now offers over seventy free MTMB workshops annually, in partnership with several NYC organizations. The impact of Move to Move Beyond was investigated in a federally-funded 2022 study assessing the impact of dance and movement on the mental health of survivors of intimate partner violence. The study found that MTMB participants experienced reduced tension and learned new ways to express themselves, attend to their bodies, discover new self-care habits, and build community. Furthermore, participants’ PTSD symptoms and psychological stress lessened. The study was published in Frontiers of Psychiatry, the second most cited journal in the field of psychiatry with 38 million views internationally. Our workshop with VWTH was facilitated by two Gibney Artistic Associates, Jesse Obremski and Connie Shiau. The dancers’ immediate soft approach brought the room to a calm state. They began the session with a
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welcoming circle, where everyone introduced themselves in a judgementfree zone. For the next hour, we were taken through an immersive journey in gentle yet powerful movements that encouraged self-expression, choice, creativity, and validation. It was profound to witness the clients’ use of movement to reclaim space and agency that had previously been taken from them. Coming from shared experiences, there was a sense of comraderie and support amongst everyone. I felt the weight of the room dissipate as the session ended, leaving the clients exiting with smiles on their faces. For me, the workshop vividly demonstrated that movement, physical awareness, and creativity can play a remarkable role in healing trauma. In an anonymous survey after the workshop, 100% of participants reported that the experience helped them connect with themselves and others. One client shared, “It introduced mind, body, and spirit. This reminds me that we are more than our experiences.” Some emotions reported before the workshop were tiredness, stress, and anxiety. After the workshop, clients reported feeling confident, inspired, empowered, and energized. To add to the workshop experience, Dance Victoria provided complimentary tickets to Gibney Company’s evening performance through our Dance Is For Everyone ticket access program. Ultimately, we welcomed 18 survivors and their families to the Royal Theatre in a beautiful culmination of Gibney’s engagement. With gratitude and excitement, I look forward to seeing everyone in the community! Warmly, Larissa Sharma FN
Barbara Karmazyn in Borrowed Time. Photo: David Cooper
Dance Days It’ll move you! January 26 – February 4, 2024 Free classes around town
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Each winter, Dance Victoria kicks off the new year with Dance Days, a 10-day celebration of dance with free workshops, performances, and a wide array of free dance classes offered by local dance studios all over town! Whether you’d like to try ballet, afrobeat, jazz, flamenco, heels, and more, be sure to look at our online calendar where local dance studios continue to submit fabulous classes. As a longstanding community collaboration for the past 14 years, Dance Days engages the community in diverse and accessible dance forms, and promotes dance appreciation, joyful movement, and connection. So, tell your friends, put on your dancing shoes, and enjoy this opportunity to make your New Year’s resolution to try something new with Dance Days 2024!
Dance Days launches with a free presentation of Borrowed Time, an intergenerational dance-based project created by Lesley Telford of Inverso Productions. Taking place at Dance Victoria Studios on Saturday, January 27 at 7:30 pm, this special presentation brings together professional and local older adult dancers to explore strength and vulnerability through different phases in our lives. On February 2 + 3, Dance Days concludes on a high note with Compagnie Hervé KOUBI’s presentation of The Barbarian Nights at the Royal Theatre, a must-see performance that will astonish audiences. FN
Inverso Productions Borrowed Time January 27 • 7:30 pm Dance Victoria Studios Free admission with a suggested donation of $10
Choreographed by DV Artist-in-Residence Lesley Telford, Borrowed Time is an intergenerational project bringing together professional and local older adult dancers to explore strength and vulnerability through different phases in our lives. Inverso recently premiered this work in Vancouver with dance artists Daria Mikhaylyuk (29), Marisa Gold (30), Justin Calvadores (27), Kerstin Luettich (62) and Barbara Karmazyn (76). The project was and continues to be a beautiful exchange between generations with many shared conversations about family dynamics and life stories. As part of Dance Days, a new group of Victoria-based participants will be part of the production. Prior to the
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performance, each participant will attend a series of dance improvisation classes with Lesley Telford focused on developing coordination, dynamics and freedom of movement, while incorporating somatic work to find awareness and agency. “It is so inspiring to dance with artists of different ages, and to experience such a high level of trust and mutual respect.” — Barbara Karmazyn (76). Lesley Telford's Residency at Dance Victoria Studios is made possible with generous support from our sponsors D'Ambrosio Architecture + Urbanism, JB Lawyers, and RBC Emerging Artists. FN
Ukrainian Shumka Dancers in Nutcracker. Photo: Marc J Chalifoux
Residents of the Kiwanis Ukrainian Village, a free transition housing project supported by UCCSVI. Photo: Larissa Sharma. (Bottom left) Veyda with Chanel Field and Thealla Dach of the Victoria Academy of Ballet. Photo: Larissa Sharma. (Bottom right) Children decorating ornaments at the RBC-sponsored Sugar Plum Party. Photo: Shireen McNeilage
Nutcracker Kids
To All Our Nutcracker Kids Supporters, Thank You! Campaign Co-chairs Julie Rust & Greg Phillips
Nutcracker Kids Additional Support
We are over the moon about the support we received this year for our Nutcracker Kids campaign. Many thanks to all who so generously gave the joy of dance! As a result, 250 children and families facing financial barriers were able to experience Ukrainian Shumka Dancers’ Nutcracker, freeof-charge. The Royal Theatre lobby was buzzing with excitement before the performances as frilled and sparkly-dressed kids took photos with dancers from the Victoria Academy of Ballet or with Leo the RBC lion as part of the RBC-sponsored Sugar Plum Party. Based on the heartfelt feedback we’ve received, this year’s Nutcracker
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Kids program made an overwhelmingly positive and meaningful impact. To distribute Nutracker Kids tickets, Dance Victoria partnered with community organizations including the Ukrainian-Canadian Cultural Society of Vancouver Island (UCCSVI), Help Ukraine Vancouver Island, Family Services of Greater Victoria, the Inter-Cultural Association of Greater Victoria, the Native Friendship Centre, Victoria Women’s Transition House, and Ukrainian Safe Haven. On the behalf of all our Nutcracker Kids, thank you! FN
Compagnie Hervé KOUBI in The Barbarian Nights. Photo: Didier Philispart
Compagnie Hervé KOUBI in The Barbarian Nights. Photo: Frédérique Calloch
Compagnie Hervé KOUBI The Barbarian Nights (or The First Dawns of the World) February 2 + 3 • 7:30 pm Royal Theatre Tickets: DanceVictoria.com or 250-386-6121 Hervé Koubi, choreographer Music: Sir Georg Solti and Weiner Philharmoniker; W. A. Mozart; Gabriel Fauré; Kodo; Armand Amar; Joseph Bishara; Howard Shore; Sequentia; traditional Algerian melodies
After astounding Dance Victoria audiences virtually in 2020, Compagie Hervé KOUBI’s powerful cast of street dancers from Algeria, Morocco, France, and Burkina Faso finally comes to Victoria in person. The Barbarian Nights takes a sensitive look at the history of the Mediterranean basin, where the mixture of cultures, religions, and the sacred reveal the foundations of a common geography on which today, from one end of the world to the other, we are standing too often without knowing. Choreographer Hervé 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 his mother were not native French, but Algerian, a designation that for more than a century equated to being a secondclass citizen in France. When his parents moved to France
from their North African homeland in the early 1960s, they were “treated like savages.” Koubi explains that they “erased themselves” to assimilate and never spoke about their family origins. “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.” Compagnie Hervé KOUBI’s performances promise to be visually stunning and to explode with athleticism, verve, and irresistible, raw force. A must-see in 2024! FN
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Your age. Your price. If you’re between 12 and 29 on the date of any of our Dance at the Royal performances, you can purchase a ticket for the same price as your age (plus a small administrative fee). There are only a limited number of PYA tickets, and they always sell out before show time. Order in-person at the Royal or McPherson Box Office or over the phone (250-386-6121). Proof of photo ID is required at ticket pick-up.
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Designed exclusively for 30–45 year olds, Night Moves is an amazing night out with friends! Night Movers benefit from discount ticket pricing for Friday or Saturday evening presentations and invitations to exclusive receptions with special guests and a complimentary libation. Proof of photo ID is required at ticket pick-up. Call 250-386-6121 or visit DanceVictoria.com/nightmoves.
Shion Skye Carter in Residuals (住み・墨). Photo: Lula Belle Jedynak
Shion Skye Carter in Residuals (住み・墨). Photo: Lula Belle Jedynak
Shion Skye Carter Residuals (住み・墨) February 8 + 9 • 7:30 pm Metro Studio Tickets: intrepidtheatre.com/shows/ residuals Co-presentation with Intrepid Theatre’s OUTstages Festival
Dance Victoria is pleased to announce a first-time copresentation with Intrepid Theatre’s annual OUTstages Festival, Victoria’s first queer theatre festival. Recent Chrystal Dance Prize winner and Vancouver, BC-based artist Shion Skye Carter will perform her contemporary dance solo Residuals (住み・墨) at the Metro Studio. The program will open with a work-in-progress by Victoria choreographer Angela Mousseau, titled Objects in mirror are closer than they appear. Residuals (住み・墨) draws visual, sonic, and physical influences from Japanese calligraphy, integrated with dynamic choreography to reinterpret the traditional form through a contemporary lens. Calligraphy brush strokes inform Shion Skye Carter’s movement as they dance among hundreds of sheets of translucent paper, channeling moments and impressions from their childhood, while the lighting evokes an abstracted memory of their Japanese grandparents’ rural home where many of the artist’s memories of domestic life and cultural rituals originate. The culmination of three years of artistic research and development, interweaving interdisciplinary elements such as full-stage video projections, sculptural costume design, and bilingual spoken text, Residuals (住み・墨) takes audiences on a personal journey of self-discovery,
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where the inner layers of Shion Skye Carter’s identity begin to unfurl. The work's title holds a double meaning: 住み /sumi/ = to reside in a place 墨 /sumi/ = ink Shion Skye Carter is a dance artist originally from Gifu, Japan who lives and dedicates time to their artistic practice in Vancouver, Canada. Through choreography hybridized with heritage art forms that interact with digital and sculptural objects, their work looks inward to the facets of their intersectional identity as a lens to process the world around her. This presentation has been made possible with support from Dance Victoria, Intrepid Theatre, and Victoria Nikkei Cultural Society. Residuals (住み・墨) will open with a work-in-progress choreographed by Angela Mousseau, titled Objects in mirror are closer than they appear. Featuring dance artists Elya Grant and Nyah Wong Penner, the piece itself is a multi-phase collaborative exploration of how contemporary dance can be interwoven with sketch artist illustrations and the use of lighting design. Angela Mousseau has been teaching and choreographing contemporary and modern dance for over 20 years. She is a 2023/24 Dance Victoria Residency Artist and a past Choreographic Lab participant. FN
Circa in Humans 2.0. Photo: Lesley Martin
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BJM dancers in Ten Duets. Photo: Sasha Onyshchenko
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Nrityagram dancers in Āhuti. Photo: Karthik Venkataraman
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NEW! Visit DanceVictoria.com a week before our shows for a sneak peek of the program notes.
Up Next Compagnie Hervé KOUBI CONTEMPORARY February 2 + 3, 2024 • 7:30 PM The Barbarian Nights (or The First Dawns of the World)
Shion Skye Carter CONTEMPORARY February 8 + 9, 2024 • 7:30 PM Residuals (住み・墨)
Circa CONTEMPORARY CIRCUS February 10, 2024 • 7:30 PM Humans 2.0
Nrityagram Dance Ensemble CLASSICAL INDIAN with Chitrasena Dance Company March 8 + 9, 2024 • 7:30 PM Āhuti
Õkāreka Dance Company CONTEMPORARY INDIGENOUS MĀORI March 27, 2024 • 7:30 PM Mana Wahine
Ballets Jazz Montréal CONTEMPORARY April 26 + 27, 2024 • 7:30 PM Essence
Clockwise from top left: Compagnie Hervé KOUBI in The Barbarian Nights. Photo: Didier Philispart; Shion Skye Carter in Residuals (住み ・墨). Photo: Lula Belle Jedynak; Circa in Humans 2.0. Photo: Yaya Stempler; Ballets Jazz Montréal in We Can’t Forget About What’s His Name. Photo: Sasha Onyshchenko; Õkāreka dancers in Mana Wahine. Photo: Alex Efimoff; Nrityagram dancers Pavithra Reddy and Thaji Dias in Āhuti. Photo: Ravi Shankar
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