JUNE EDITION OF TO THE POINTE

TO THE POINTE

Naiah Kulla

By Ariana Barillas, Neve Faulconer, Emerson Gamble, Katherine Lee, and Roman Ho Zimbalatti

Summer Activities

By Emi Horkan

Fun, cheap activities to keep you and your friends entertained all summer!

Chalk

Drawings Make Bracelets

Plant Flowers

Grab some chalk and find an open space, then draw from your heart.

All you need is some string and beads to make the most beautiful jewelry.

Picnic in the Park

Grab some snacks and a picnic blanket and find a nice park to relax.

Dig a hole in soil, plant the seeds, nourish the seed, and be patient!

Water Balloon Fight

Invite friends on a warm summer day and cool down with a water balloon fight.

Watch The Sunset

Just step outside and enjoy the beautiful colours of the sky.

Summer in Toronto

Toronto Islands

July 18: Shrek August 8: Ratatouille

August 22: Up

Pedestrian

Enjoy Kensington Market on Sundays after 1 pm when the streets are blocked off to cars.

Visit the amusement park, the beaches, the farm, and more! Enjoy what the islands have to offer - only a ferry ride away!

Summer Music in the Garden

Enjoy live music on Thursdays and Fridays by the waterfront.

Visit one of the many farmers’ markets around the city, like Trinity Bellwoods or Evergreen Brickworks.

HOW TO MAKE HOW TO MAKE TTANGHULU ANGHULU

By Nina Bebzuck Marom, Eliza McCready-Branch, and Isabell g,

CRUNCH!

That's the sound of the delicious Tanghulu. Crunchy, sweet, and flavourful - perfect for o go!

1) Gather your ingredients: Skewer Sugar Water Ice 2 bowls Fruit of choice (for this one, we used grap

2) In order to set up ingredients, put cold wa ice into your first bowl. Next, pour the sugar your second bowl.

3) Add water in a 2:1 ratio (2 cups of sugar and 1 cup of water).

Then, place the grapes or fruit of choice on to the skewers, and set them aside.

4) Microwave the bowl of sugar and water in intervals of 30 seconds at a time. Check on it every 30 seconds until it turns golden brown.

5) Test the sugar with your skewer and place it in the ice bath. If it is hard, take it out. If it is chewy, put the sugar in for another 30 seconds.

6) Once ready, take your first skewer with fruit of choice and dip into the sugar substance. After dipping, put the sugar coated fruit into the bowl of water until it is fully covered. Wait about 2 minutes, then tap to make sure it is hard.

7) Take a big bite, then make sure you film that amazing crunch!

Clean up your mess to make your parents/counselors happy.

Now go enjoy your yummy dessert! We hope you don't get too addicted!

SOLAR ECLIPSE 101

By Maxwell Moore and Logan Yang-McMillan

The solar eclipse phenomenon occurs when the celestial bodies known as the sun, the moon, and the Earth line up with one another. A solar eclipse happens when the moon passes between the sun and Earth, casting a shadow on Earth.

The reason the moon covers the sun entirely is that the moon is 400 times smaller than the sun, but 400 times closer to the Earth. We can only witness the corona of the sun (the fine circle of light around it) during an eclipse because the corona is such a thin gas that it does not emit or reflect much light. When the sun is completely blocked by the moon, we can observe the corona.

Why is the full eclipse not blinding?

Even when the sun is partially obscured by the moon, its rays are still strong enough to damage your eyesight. The only time to look at an eclipse without glasses is when it is fully covered by the moon during the totality, which only lasts three or four minutes, depending on where you are.

For fun, just Google search: “Ummmm, why do my eyes hurt? All I did was look at the eclipse!” ������

BY JENNA CURREY

We Were Liars by E. Lockhart is a gripping contemporary novel that deep dives into such themes as privilege, family secrets, and the impact of tragedy. The story unfolds on Beechwood Island, where the Sinclair family, a wealthy and seemingly perfect group, spends their summers. The narrative revolves around Cadence Sinclair, the protagonist, and her close-knit group of friends, known as the Liars

The Sinclair family carries dark secrets, and as Cadence attempts to piece together the fragments of her memory after a mysterious accident, the novel masterfully explores the blurred lines between reality and illusion Lockhart weaves a tale filled with suspense and psychological depth skillfully, keeping readers on the edge of their seats until the shocking truth is revealed The characters are complex, and their relationships are intricately developed, offering a poignant exploration of love, loss, and the consequences of unchecked ambition Lockhart's prose is both poetic and haunting, creating an atmosphere that lingers long after the final page is turned

We Were Liars is a thought-provoking and emotionally resonant novel that challenges conventional storytelling Its unexpected twists and turns make it a compelling read, while its exploration of privilege and family dynamics adds a layer of depth to the narrative Lockhart's ability to craft a tale that is as mysterious as it is heartbreaking ensures that this novel stands out in the world of contemporary fiction

Overall, I would give We Were Liars a 5 star rating (out of 5) If you ' re looking into a read with a thrilling twist, that will keep you hooked from start to finish, then We Were Liars is definitely the book for you!

Lay Dances Experience

By Maxwell Moore

The new piece Lay Dances performed during Canada’s National Ballet School’s Spring Showcase and choreographed by James Kudelka was a peek into the senior school lifestyle from a junior student’s perspective. The long rehearsals, extensive preparation, and physical stamina were all new experiences for the junior students.

The piece was created for Spring Showcase 2023 with all seniors, and then performed again in 2024. The second performance in 2024 included some of the junior students of Canada’s National Ballet School. They were included throughout the performance.

The performance showed the audience a mature and engaging dance routine through movement of dance. One signature position conveyed looking out into the future.

The piece also gave juniors a chance to work on stage with James Kudelka and to dance in Betty Oliphant Theatre The junior director Laurel Toto helped the juniors in rehearsal, while James Kudelka worked with the seniors

The piece was very challenging for the young dancers, as it was full of jumping

The juniors performed a 6-minute piece at the beginning of the performance before coming out again in the middle of the performance. The rest of their dancing came at the curtain call. The juniors were able to relax in between performing and the curtain call.

The performance ran throughout the week starting Wednesday and ending Saturday with a double show The entire piece was around 45 minutes long and was performed in between other pieces in the Spring Showcase program

The juniors rehearsed almost every day as they approached opening night. The juniors missed academics and attended a dress rehearsal with seniors and had the chance to watch the whole performance. The juniors also got an opportunity to start ballet classes later in the day due to the scheduling of the shows.

2024 was one of the few years that the juniors have been included in NBS’ Spring Showcase. The performers were very clean and rehearsed. The dancers should be very proud and happy with their performances and their opportunities to work with James Kudelka!

NBS SUMMER SCHOOL GUIDE

FROM CAELYN ZHANG AND ANN-MEI YANG

What should you expect during summer school?

Summer school is one part of being at NBS The summer program is roughly 4 weeks long Unlike the full program, summer school is only in the afternoon or morning with no academic lessons

For returning students, ballet classes usually start at 9 am, and for auditioning students, the classes start shortly after 1 pm. Many returning students point out that they have many long breaks to relax between classes.

There are many chances to meet new people and teachers. The kitchen staff provides meals and snacks throughout the day

You can expect several styles of dance classes, such as pointe, repertoire, and afro-fusion For students living in residence, nights will be filled with fun and memorable activities.

There are many outings during free time on the weekends, such as trips to the CN Tower, Ripley’s Aquarium, and Canada’s Wonderland.

EXCHANGE GUIDE

FROM JULIETTE SMITH, ELLIS GALLANT & MIA KWONG

THIS AIN’T OUR FIRST RODEO

Top Tips for Exchange

Be open-minded: it is important to stay open-minded when travelling to new places, meeting new people, and doing something new

Go out of your comfort zone: Try to make the most of the experience and be adventurous by getting out of your comfort zone.

Meet new people: Be friendly and try talking to new people. Even though it might be scary, you can end up making lifelong friends at summer intensives!

Double-check rules and packing lists: Sometimes different schools and places have different rules and requirements, so try not to miss anything.

Take lots of pictures: It is always great to look back at past summer memories so make sure to take lots of great pictures!

Language: if your exchange is in a country that speaks another language, a practical skill is to know a few simple words or phrases that can help you communicate with others.

Explore: While you are primarily at your intensive to dance, it is equally as important to sightsee and explore! Go out and try new food, visit famous landmarks, or even just walk aroundwhatever you do, make the most out of your time there, as traveling to new places and getting immersed in different cultures is such a valuable and exciting experience.

Take time for recovery: While you want to look and feel your best at summer intensives, your schedule will have a significant increase in hours of dancing. Therefore, it is crucial to make sure you take care of your body: roll out your muscles, soak your feet in epsom salts, and ensure you get sufficient nourishment, and sleep!

Don’t compare yourself to others: Everyone is on a different journey with different circumstances, so don’t worry about others - just have fun!

Retain corrections: Even if they may not be directed towards you, taking in general corrections from the different faculty at your intensive will be useful in your progress.

Stay focused on your own journey: It can be easy to get caught up with doubting yourself, especially dancing around so many other people your age. However, it is important to remember that you are there to learn, so the best thing you can do is put in your best effort, and enjoy the process.

THE LIFE & LEGACY THE LIFE &

OF OF

MavisStaines

A TIMELINE A TIMELINE

BY NAIAH KULLA

On April 9th, 1956, Mavis Avril Staines was born in Quebec’s Eastern Townships.

Ms. Staines entered Canada’s National Ballet School in 1967.

Ms. Staines graduated from NBS in 1972 with top honours.

1956

1967

1972

In 1973, Ms. Staines joined the National Ballet of Canada where she was quickly promoted to the rank of first soloist.

Ms.StainesreturnedtoCanadaandtook theteachertrainingprogramatCanada’s NationalBalletSchool.

In 1978, Ms. Staines joined the Dutch National Ballet where original works were created for her.

Ms Staines returned to canada and joined the teaching training program at Canada’s National ballet school

1973

Ms. Staines joined the faculty at NBS in 1982.

1978

1981

1982

In 1984, NBS Co-founder Betty Oliphant chose Ms. Staines to train as her successor in the role of Associate Artistic Director.

Today - 2024, Ms. Staines retires.

In 2023, Ms. Staines, announces her retirement as Artistic Director/CEO of Canada’s National Ballet School. 2023 2024

2020

2013

2019

1993 2002

2009

2010

In 2020, Ms. Staines shepherds Canada’s National ballet School through an unprecedented worldwide pandemic.

In 2019, Ms. Staines received the Governor General's performing arts lifetime achievement award for her dedication to the arts, which has transformed ballet in Canada and initiated a global dialogue on holistic, progressive classical training

In 2013, Ms. Staines was honoured with Queen Elizabeth II’s Diamond Jubilee Medal.

In 2010, Ms. Staines became Member of the Order of Canada in recognition of her commitment to furthering the field of dance education.

In2009,Ms StainesfoundedAssembléInternationale,a quadrennialfestivalwhichpromotesunityandequityinthedance world,andempowersyoungartiststocreatemeaningful connectionswiththeirpeers AIseekstobringtogetherballet studentsfromaroundtheworldinacollaborative,noncompetitiveenvironment

Ms. Staines founded Assemblé Internationale in 2009, a quadrennial festival that unites ballet students worldwide in a collaborative, non-competitive environment, fostering meaningful connections and promoting unity and equity in dance

In 2002, after a year as the Artistic President Designate, she was appointed Artistic President. During her six-year presidency she incited meaningful change and started thoughtful initiatives which left a lasting impact on the organization

From 1993-1995, Ms Staines served as a juror at the Prestigious Prix de Lausannea world renowned ballet competition held annually in Switzerland.

Ms. Staines became the sole Artistic Director of NBS following Ms. Oliphant’s retirement, a position she has held for 35 years.

Celebrating a Legacy:

Tributes & Memories

Congratulations on your truly amazing career and your incomparable achievements with the school. You have guided the school through so much growth and development. All of the programs and changes you have brought in will be with the institution for years to come.

--Alain Pauze, class of 1969

Mavis saw me for who I was and what I really wanted, her support has helped set me on the path that I’m still on today, and I’m very grateful to her for that.

--Amos Ben-Tal, class of 1997

You were training to become a teacher, not knowing that you would become a long-time NBS director! You were very generous and encouraging to us insecure 17 and 18 year olds. We appreciated your people skills and compassion not only to us as dancers but as human beings.

--Brigitte Martin, class of 1982

With the news of Mavis’s retirement, heartfelt gratitude and a deep sense of belonging to a global community easily came to mind. Like so many alumni, I have never known NBS without Mavis’s presence. As I reflect, I think about her constancy, commitment, and vision. She has inspired and energized so many of us long after graduation. Always with a view to the future, she had led generations of exceptional students with care, wisdom, and intention and engaged a thriving community both locally and around the world.

--Fleur Leslie, class of 1989

Congratulations, Mavis! May your hopes and dreams be spirited by the same energy and will of your past 35 years successfully guiding the NBS.

--Frank Augustyn, class of 1971

All the blessings to you for a truly immeasurable legacy! I treasure the vivid and lovely memory of taking your ballet classes, as a TTP student during my first summer in Canada. Since then, you have always been such a role model working with passion to fulfill your vision of the school, a titan! Thank you for being a wonderful role model, educator, and leader.

Many blessings always, Love Maritel Centurion, class of 1989

I am forever grateful to Mavis and NBS for the positive impact they have had on my adult life. I came to NBS as a TTP student and was immediately embraced and recognized for my unique talents and gifts as a burgeoning dance educator. One of my most powerful experiences occurred immediately following the yearend performance of Associates students, in which I was given the honour by their teacher, Carina Bomers, of dancing on stage with the youngest students and leading them in their story-ballet at the Betty Oliphant Theatre in front of family and friends. I had no idea that Mavis was in the audience. She approached me following the performance and said she was touched by my genuine connection with the students on stage. This was at the end of my first year in TTP and meant the world, especially coming from Mavis.

I’ll also never forget the way Mavis walked right up to me several years later in the Town Square following the death of my father on the other side of the world and, in true Mavis fashion, had just the right words. It was more than the words, though, it was the kindness in her eyes, her intelligence, and the deep connection she is somehow able to make with every single student and staff member, past and present. To this day, I have no idea how she heard about my sad news, but it is a testament to the care, community, and connectedness that is NBS. These are but two moments I will cherish in which Mavis has made a positive impact in my life. There are many, many more. Her wisdom, passion, commitment and care shine through time and time again and are what define her leadership and legacy.

--Gdalit Neuman, class of 2006

My dad tells me the story of how prior to me joining NBS, he had a meeting with Mavis on the phone where he tried to express, in his poor English, how grateful and lucky he felt that I was receiving a scholarship and an opportunity so big, to which Mavis replied, in her soft voice, “The pleasure is ours, Mr. Gasparini. We are the fortunate ones for having Isabella.” My dad never forgot this, and from that moment on felt safe and positive that we had chosen the right place for me to further my training.

Never for a moment have I regretted my decision to accept this scholarship. I spent four amazing years at the school under Mavis’ directorship, and her guidance and wisdom are something I will always treasure. Thank you Mavis!

--Isabella Gasparini, class of 2006

Dear Mavis,

35 years! What an achievement! I am so glad to have been a part of the NBS community under your leadership. You managed to create an environment of care, compassion, and drive for excellence that spread effortlessly throughout the school. You are truly one of a kind. I send you my best wishes for the new chapter to come and, of course, all my gratitude for being an extraordinary artistic director. You have left a mark.

Love and respect, Jacqueline Bâby, class of 2011

Back in 1979, we worked together at the Dutch National Ballet and even shared an apartment for a few months when I first arrived in Amsterdam. Later, through the years as NBS director, I have enjoyed my visits to the school for a teacher training summer course at our 25th reunion and have been moved and inspired by the many speeches she has given. Mavis has brought ballet training to new heights with the NBS leading as an example and this has bonded the top international schools together. I am so grateful for the inspiration she has given to us as teachers and her inclusive view on training students of today. Thank you, Mavis, for all you have given to the ballet world.

I will always remember how Mavis sent me a few pairs of pointe shoes when I was working with Ballet Kelowna, and that I had run out of pointe shoes to perform in. Also when I wanted to apply for the Professional Dancer’s Postgraduate Teaching certificate with the Royal Academy of Dance, Mavis kindly wrote a letter of recommendation for me. These acts of kindness really demonstrate how NBS and Mavis’ support for its graduates goes beyond our training years, and that we really are part of a big dancing family, which makes me incredibly happy. I want to thank Mavis for all the support, guidance, and opportunities she has given me, as these have helped me tremendously in my life. I am beyond grateful for all that my years at NBS have given me, be it becoming part of a community and making long lasting friendships, opportunities to develop my passion for dance, and to develop also as a mature being.

Thank you, Thank you, Thank you, Love, Mariline Goodhue, class of 2001

During my time as a student at NBS from 2001-2009, Mavis was my Artistic Director, ballet teacher, and mentor. While she helped mould my journey as a dancer through classical technique, I think what has remained with me the most throughout my career and life after school was the importance she placed on our intentions. Intention with your body in the space, on or off stage. Intention with your mind to focus on the challenges and obstacles that await. Intention with words and thoughts in how you choose to interact with others. Intention with actions and awareness of the world around you. While it is sometimes difficult in an education and career that can feel like it solely focuses on one’s body, I believe these were the truly lasting lessons I’ve carried with me. I cannot imagine NBS without you floating down its hallways. I wish you a very happy and well deserved retirement after leading the school for so many years. Thank you for your care, guidance, and patience.

--Sasha Samion, class of 2009

I first met Mavis in September 1968 when I was 9 and she was ? 14. We were both new students at the school and living at Jarvis St. I’m not sure if she was officially my “big sister” but she took me under her wing, so caring and kind. Our paths crossed again properly 10 years later when I was back at the school after a few years in London at the Royal Ballet School, and she was back from Amsterdam recovering from an injury. As always, she was very supportive both professionally and personally . She was a gorgeous dancer/actor, a Lynn Seymour. I’m sure she must have been amazing at running the school after Betty Oliphant and she has obviously created something utterly wonderful . How lucky for her staff and pupils. She will be sorely missed and I wish her every happiness in the years ahead.

--Stephanie Earle

As a leader, Mavis has a natural warmth and deep experiential understanding of the social, economic, and political landscapes that humanity entails and the importance of effective ongoing reciprocity in interpersonal relationships of engagement. Her ability to create strong relationships of trust, vision, goals, and a sense of community with the artists, administrative staff, technical professionals, and families alike serves as a beacon of ongoing inspiration throughout her work in advocating for community-based interests and inclusivity. Congratulations on your remarkable career and vast accomplishments.

Much love always, Talia Evtushenko, class of 1997

Since going to NBS for my first summer school in 2018, Mavis has been an incredible figure in my life. A memory that comes to mind is being in Grade 8, having just joined the school and being quite shy and nervous. I was eating my snack in between classes in the town hall and Ms. Staines walks past me and says hello. I froze and didn’t say anything. She turned back around and said, “I walked past you and said hello and you didn’t say anything!” We tried again and I acknowledged her. It was an important lesson to me that I still remember today.

Those moments of guidance and encouragement helped shape me into who I am today and gave me an example to look up to of someone who is in a constant state of growth, learning, and compassion.

--Wesley Miller, class of 2023

I learnt so much from the way Mavis brought her passion for dance education to everything she did. She has been a wonderful mentor to me over the years as I have progressed in my career.

--Christopher Hird, class of 2003

My talks with Mavis and there were many, were some of the most educational and challenging of my blossoming career. From her I learned patience, articulation, and clarity. I also learned self respect and self honesty, and for that I thank her. She really helped me to see myself as more than a dancer.

--Daniel Cooke

Mavis gave me an opportunity of a lifetime. I had almost little to no ballet training and coming into the professional program at 16 was a huge push. I want to encourage everyone at this age who started late, that it is absolutely possible and I owe it to Mavis.

--Stephen Allen, class of 2018

There isn’t a day that I am not grateful to everyone at NBS for believing in me, for supporting and pushing me, and for giving me all the knowledge and care that I could dream of. I’m especially indebted to Mavis for always standing by me, back then and all the years since.

--Ana Maria Lucaciu, class of 1995

Mavis has taught me so much about life both inside and outside of the dance studio. I cherish the year I had her as a ballet teacher when her energy lit up the studio, and I am grateful to have stayed in touch throughout the years. So many people at NBS remain near and dear to my heart.

--Rachel Wilton, class of 2014

I’ve learned a plentiful amount from Mavis and will forever be grateful for all that she has taught me. One particular perspective that she shared with me, that to this day I try to live by, is to focus on the bigger picture. She always reminded me that there will always be more adventures and opportunities and to not dwell on what we can’t control. This optimism that she showed me has helped me get through the most challenging parts of my life and career. I will continue to be present with my life and to remind myself that it isn’t one moment that makes or breaks you but the compilation of all the experience and decisions together, because everything happens for a reason.

Mavis, thank you for always believing in me and giving me the the chance to grow and learn at NBS. You always had my best interest and always encouraged me to strive for excellence and authenticity. I am grateful for your guidance, support, and wisdom and your impact on NBS and the dance world is ever lasting.

---Inara Wheeler, class of 2021

w with Ms. Staines

By Lauren Laframboise

Your career at NBS is full of many great accomplishments. Is there one that particularly stands out to you, and why?

When I was your age, and it’s a beautiful stage of life to be at and for probably a couple more decades after, I found myself often thinking about what was the one most significant It’s amazing over time how your perspective and relationship to life shifts I find myself now not so much thinking about one specific achievement with a beginning, middle, and end, but a through-line that's evolved

I have to say that, I think probably one of many things that I cherish is that I have continued to be in love with learning and laughing and being really curious All of those things have meant that my fascination for how life and learning and laughter can evolve and improve initiatives, and learning life opportunities has been such that more and more times the number of people who have also gotten excited about these dreams or concepts has gone beyond what I even imagined was possible.

The reason I am saying that this is tied in with my question about the newspaper and your question is that I love that the culture at the school has led to the development of a newspaper. People at your age and stage of life where you have a lot of runway in front of you, not so much behind you yet from where I am sitting, but a lot in front of you. I’m the opposite, a lot of runway behind me with cherished memories and some intense learning, and the runway ahead is getting shorter and shorter. We’re able to have this conversation, and I am able to say: Wow. What can be done to keep your newspaper evolving and can you expand the readership? Can you go and talk with those other people and see how we can make sure that we are constantly assessing that we are not falling into patterns that are counterproductive, but patterns that keep us creative and moving forward?

NBS has grown significantly under your leadership. In your opinion, what is the most significant improvement that you have seen during your time at NBS?

Again, I really was appreciative of your question for the reason that I referenced previously, and that it reminded me of how, when I was younger, I would have framed a question exactly like that, but now it's more than quantifying in a most significant, but just more in a broad arc kind of way There are so many dreams that I have had the opportunity to realize with very gifted people It's never just been me Any really meaningful shift is the collaborative work of concentric circles of people, and that's fabulous because it means that it's never about anyone’s ego; it's about excitement, about a shared set of values and how you want to see those values play out.

I do want to use our conversation and this newspaper as an opportunity to say that one of the things that is especially meaningful for me is how again from generation to generation, NBS students are practicing all of the time, using their voices responsibly and using their voices for how they can contribute to the world. I think that's why so many directors of dance companies say to me that they love having NBS graduates in their organizations. And why so many NBS graduates go on to become directors and flourish in whatever professions they choose to explore after a career in dance or sometimes instead of a career in dance.

There are many memories that you have experienced at NBS. What is your favorite memory that you have experienced?

That’s a really tough one because over thirty-five years in this role, and then my years as a student and some years as a teacher before I was in this role, that’s a lot of years, a lot of memories There’s not one favorite memory, but again what I cherish and what gives such a beautiful sense of hope for the future is how deeply connected people are through a shared sense of purpose Like being in love with the power of dance Maybe linking a dream from when I was around your age to something that’s happened today. I know that because I came from a wonderful family, but none of them particularly liked ballet, and they couldn’t figure out why I liked it so much.

I used to think that there must be a way to help people fall in love with ballet. Dancing is something that draws people together in social ways. I think the fact that there are now so many channels that NBS has created, that ensure that dance is a part of people’s lives and it helps them fall in love with ballet, feels really good.

Upon your retirement, what are your plans?

I know for sure that there are all kinds of causes that I have been part of championing ways to continue making the ballet world evolve in good ways that I will stay a part of. Central to that, is the work that drove the theme of AI23, and that’s addressing racist practices, particularly anti-Black racism and how ballet plays out.

I have dreams, with a couple of other colleagues who are now semi-retired, of making sure there are support systems for dancers to turn to, to feel as though they have resources to discover who they are as artists So ballet isn’t reduced to being about the concrete steps but really how the language of ballet is something that shares a powerful narrative and powerful storytelling

I’m especially interested in that, related to the fact as I look at female-identifying dancers compared to male-identifying dancers, often young women studying ballet in the early stages of their careers as dancers are so eager and focused on being perfect and on pleasing their coaches that they don’t trust that their own inner voice, which is something that is going to make their dancing the most powerful and that will make them the most powerful storytellers. I’m really excited about being able to dedicate more time to that. And to laughing as much as possible!

SENIOR CHATS: A HEARTFELT CONVERSATION WITH MS. STAINES

Looking back on a 35-year career with Canada’s National Ballet School

HER THOUGHTS, MEMORIES,& HOPES

By Ariana Barillas, Neve Faulconer, Emerson Gamble, Katherine Lee, and Roman Ho Zimbalatti

“When something feels essential for making life better, or addressing injustice, it doesn’t feel like it takes any courage.”

With a career as Artistic Director of NBS spanning over three decades, Ms. Staines has left an indelible mark on the world of ballet. She graciously shared her insights and experiences with us, a group of humbled Grade 12 students, including Ariana, Kat, Emerson, Roman, and Neve.

She reached out to invite us to gather for our conversation in her office, a warm and inviting place with a fireplace and filled with plants and natural light Ms Staines met with us on two different occasions, offering delicious cookies and her witty humor to help us feel welcome She answered our questions thoughtfully and willingly, and in turn, we strove to listen, deeply appreciating her openness and kindness

Nick Westoll / Global News

What would you have for your last meal?

A plate of really great pasta straight from Italy. And some champagne. Or maybe just champagne.

What is one book that you would recommend everyone to read?

Because of where the world is right now, it would probably be The Choice, by Edith Eger She writes very powerfully about the right of choice and how no one can ever take our thoughts prisoner. She describes the process of navigating through the toughest times with humanity and compassion and how, as long as we know no one can take us hostage psychologically, we can all see the world get to a place of tolerance again Edith was a worldclass ballet dancer and gymnast in the early 1940s She lived in Hungary and was Jewish Of course, the world was shutting down with hatred.

Everything goes in cycles. When I see the world right now, I am really conscious that when I was your age, there was such a liberalism that is 180 degrees different from the conservatism now in the world There was such a sense of hope, that anything was possible But, watching how all of you so bravely find ways to strengthen your belief in the future, reinforces for me in these turbulent times, that as long as we can get strength from the choices we make and how that bonds us together, we are going to see the world get to a place of tolerance again.

How do you find the courage to keep pushing boundaries in the dance world?

When something feels essential for making life better, or addressing injustice, it doesn’t feel like it takes any courage. I am surrounded by such

“I FIND THAT PEOPLE DO PARTICULARLY GOOD WORK WHEN YOU GET TO A PLACE WHERE YOU CAN LAUGH TOGETHER.”

intergenerational talent, and if it’s a good enough idea that transcends any one individual, then it always flies. Sometimes it takes longer, or it crashes a few times first, but it still succeeds if you know it’s right. That’s why the trajectory of 35 years has been so amazing; because there have been instances when I had the timing wrong or I wasn't respectful enough of drawing people into the idea, or listening to their recommendations But when everything comes together, you know it’s the right thing

I think the hard thing for me now is just realizing that everything in life comes in cycles and watching the conservatism in the ballet world have some power again, and parts of the world have directors that are infantilizing their dancers, and I feel that was better addressed 10 years ago But seeing how NBS graduates are addressing that and checking in, I think it will cycle faster back to a better place

I have to deal with my sadness that nothing is permanently in a better place; it's always two steps forward and one step back. The piece that I believe that all of you will make a big difference in, is as the standards of technique have gotten higher and higher over 30 years, it has become clear to me that there needs to be more excitement about ballet as a language and a method of storytelling Ballet dancers need to evaluate themselves by what they are conveying through movement, rather than worrying just about technique and how they would be scored by a judge.

One of my missions for the next period of my life is to start a resource with a couple of other artists so that there are places for dancers to come together and discuss how they can be part of the force to ensure that ballet is about powerful movement and storytelling. A couple of alumni have been working with us, and we will be turning to all of you to help.

Was it difficult starting as a young female director?

There is nothing like experience to give you a sense of confidence and having faith in yourself But, it’s wonderful to be new at something. I took the opportunity of artistic director, because my whole way through my career I absolutely loved the language and the process of ballet and found it absolutely fascinating. I was really

connected to that, because my parents so wanted all of their kids to go to university. They came around eventually, but could not believe that one of their children who loved school and loved to learn was not going to university. So I knew that I had to be really clear with them about why this mattered so much to me. I just kept noting that there were so many things about the language of ballet that were magical, but there were lots of things about the process that were counterproductive or even very harmful And I knew there had to be a way to change them Then, when I was offered this job, I thought that this was a chance to really make systemic change.

The one thing about being really naïve, is that you don't know when you are walking through a minefield. There are so many things that I look back on and think, “I’m so lucky I survived.” I wouldn’t do them now, but it was really good that I did it then I could only make those bold decisions because I was excited about something that was universal. Now, when people say “we want the focus to be on you,” it feels horrible. I don’t think any of us go out and perform because we want to say “look at me,” but rather because there's something we have to say. A lot of people who do what we do are pretty introverted.

Who were some of your mentors or inspirations throughout your career, and how did they influence your journey?

I think probably the most my important influence has been all of you as students; each wave of students that comes through I learn more. I think in terms of leadership style, probably Rudi van Dantzig, when I worked for the Dutch National Ballet, because he believed in the power of humanity That galvanized people much more than beating them up He had high, high expectations. He would say, “What are you bringing to this? What are you endeavoring to contribute?” which is a great question.

In terms of courage, probably Celia Franca, who is the founder of NBoC and the cofounder of the school I loved working for her when I was dancing for the National Ballet She always said the same thing to people's faces as she said behind their backs. I remember she called me

Celia called me, and she said “I hear you're totally ruining the school,” and I said, “Well, I sure hope not!” and then I said, “I actually don’t have someone of your generation to give me input, would you come and have a look?” Because, of course, the last thing I wanted to do was ruin the school! And that became the beginning of such an important friendship and mentorship.

What was your favorite thing that you got to dance during your career or your favorite choreographer that you worked with?

I especially loved anything that meant being a part of the creative process; building something from the ground up. I was much better with that, much more myself and much freer in new creations and contemporary ballets I often tied my head in a knot with classical ballet There would be fair feedback from colleagues saying, “Why are you not approaching that traditional role with the same expansiveness?” But, I had not developed all of the tools that would have been helpful.

Also, anytime I worked with a coach or choreographer where they really pushed me, but I also felt that they really believed in me When you can go in the room and know that there’s not going to be a sense that you’re struggling on purpose, but that there’s an attitude of “let’s figure this out together.”

What sustained you during your career?

It hasn’t felt that difficult. When you are doing something that you really believe in with people who inspire you, and you are learning all the time, I feel like life doesn’t get any better. I pinch myself all the time. Not that it’s always easy.

What core values do you prioritize/look for when forming relationships with others?

I think things that make me feel safe, we all want to feel safe. Kindness. Excitement about learning. A good sense of humor. It didn’t surprise me at all when research showed the way our brain chemistry changes when we have a good belly laugh, and how it takes us to the most creative places. I know that some of the

“I HAVE MORE AND MORE PEOPLE COMING UP TO ME AT DONOR EVENTS AND ASKING, ’HOW ARE YOU FEELING?’ AND I’VE STARTED NOW SAYING, ‘SURREAL WITH WHIPPED CREAM.’”

people who haven’t had a chance to work with me before, especially in international settings, have been offended by me initially because they thought that my playfulness was making fun of them But I find that people do particularly good work when they can laugh together

If you could have dinner with one person, dead or alive, who would it be and why?

Nelson Mandela. His autobiography, Long Walk to Freedom, is extraordinary.

What is your most treasured possession?

My sense of humor. I’m not sure why, but for most of my life, it has not been tangible objects.

I mean, if there’s a piece of jewelry or something that I cherish because of the memories attached to it, I am sad for a while when I lose it, because I inevitably do, but I don’t have anything that if the fire alarm went off, I would grab other than my passport.

In your opinion, what are the most essential qualities of a great leader, and how have you strived to embody these qualities as a school director?

Humility and a sense of humor. Getting out of the way of really talented people. Sharing excitement about ideas. Making sure the primary goal is to see a dream come true, and the dream must never, ever be about themselves and their own ego.

How do you balance humility and assertiveness?

I’m not sure that I always do. And when I don’t, it bites me in the bum!

What is the most meaningful piece of advice you've ever received, and how has it impacted your life?

Two things come to mind One was when Celia Franca reminded me that you eat an apple one bite at a time; if you try to put the whole thing in your mouth, you’ll end up in the emergency room.

Then, the other, I'm completely fascinated by Buddhist philosophy, and thanks to Carina Bomers, who is really well organized when something special is in the city, I was able to see the Dalai Lama when he was in Toronto During a Q&A, he said in one of his responses, “You know, there's a reason we have two ears and one mouth.”

As you reflect on your life, what are you most grateful for?

The relationships that I have with people intergenerationally, how I much learn from those all the time, and how much they nurture my soul

How did you know that now was the right time to retire?

In my gut, it feels like the right time. I promised

myself when I realized this job was going to be a long-term engagement, that I would keep putting my finger on the pulse so that I didn’t overstay. I didn’t want people sitting around a table saying, “Who’s going to tell her that she’s past her expiration date?” Actually, before the pandemic, I had planned to retire in 2020 because I really did not want to go past my expiry date. And then, when John Dalrymple and I started working together, I said to him, “Wow this is ironic, because I feel like that the work that we do together is really important for the school right now ” So I spoke with the chair of the board and said, “I’d like to stay on another a year.”

Then, the pandemic hit, and then we started planning AI 23, and then I started looking at the numbers, and I thought it was zi h i 2024 I will have been the direct will have just turned 70 And continues to be kind, I still h passion for the causes that I wan and no one is saying to my face my expiry date. This transition h I have more and more people c at donor events and asking, feeling?” and I’ve started now with whipped cream.” I’ve n before, it’s all new, so I’m reall how to respond.

What are your plans for immed your retirement? Do you have planned?

I do not have any big vacations summer. In the autumn, I d planned. I love snorkeling, I fi most wonderfully meditative ac friends who I love dearly, wh snorkel, are going to go snorkeling with me In the summer, I’ve managed to keep the first two weeks of July free, and I plan to read an obscene number of books. Then, I said yes to three projects over the course of the summer.

What were the difficult parts of that process?

Deciding to do that, and especially being surrounded by people like Sapna Goel and John Alleyne, was not the difficult part. It was just knowing what a stretch it was for so many of the leaders who were coming. I was not concerned about the people who were your age; it was the leaders. I just wasn’t sure whether or not we would be able to make everyone safe, especially the Black artists and the artists of color who were taking the biggest step to be part of the conversations I think the much, much larger challenge now is keeping the momentum going. What I’m noticing now makes it really, really a gift that I am retiring from this role and will have

What's the most adventurous thing you've ever done, and how did it change your perspective on life?

I would say the most adventurous is the build to AI 23; asking everyone to talk about racism and addressing racism in how ballet was practiced It was a huge ask.

more time, because we are a species that reverts to familiar patterns The number of people who are carving out time to remain part of action and putting action where their mouth is is shrinking. Momentum is dying and it’s not okay. We all made a commitment, and it has to keep going; we have to keep holding one another accountable. Those of you emerging into the art form and where you are in your life journey are already further ahead, but it's the people who have the privilege of power right now who have to keep themselves moving forward

“I DO HOPE THAT THE POWER OF HUMANITY, INTEGRITY, AND CURIOSITY GO WITH EACH GENERATION WITHIN THE SCHOOL.”

What was the process of reaching out to Black artists and institutions like?

It was one of the most important learning experiences that I’ve had. To provide some context, we talked about mentorship earlier, and I think there is usually an implication that your mentor is going to be older than yourself, however, for me, it's generations of students like yourself who have been key mentors. It was thanks to your generation and the Think Tank that as we were talking about the theme of AI 23 being centered around opening people's eyes, especially white leaders' eyes, to racist practices in ballet, that the message over and over again was that the only way this will work is if we come together as people first and people who dance.

What legacy do you hope to leave behind, and how do you want to be remembered by your students, colleagues, and loved ones?

I don't expect to be remembered at all. It just doesn’t happen that way. I find it fascinating when I talk with the younger students now, and they have no idea that there was a Betty Oliphant. They just think there is a BOT, and they don’t know who Celia Franca is or Rudolph Nureyev. But, I do hope that the power of humanity, integrity, and curiosity go with each generation within the school And when I look at what all of you, and previous generations of alumni, are doing, it just reinforces that these

values are critical to the world moving forward in the most positive and creative way So, I hope that those will be the values that always influence the school's ethos

On her personal style

I think developing your own sense of style is absolutely fascinating and it changes over time. It took me ages to trust that my sense of style was valid. Until I was about 45, I didn’t think I had a sense of style The main thing for me is finding things that are unbelievably comfortable, and that when you travel you can mix and match so that you only ever have carry-on luggage. I want it so that I can go away for 2 weeks and still just have carry-on luggage. Really like what you’re wearing and have it be comfortable, I think it's fascinating how people come to realize that in fact they do have a sense of style, you just don’t call it that because that's how you dress everyday; but really, that’s style.

What do you look for in kids when they are auditioning? How can you find the potential in kids when they are so young?

How kids respond to the process in the studio, what you see coming from their eyes really, h h hi

THELOZINSKIHOUSE: AHISTORICADDITION TOTHENATIONALBALLETSCHOOL

BY NEVE FAULCONER

The Northfield House, renamed The Lozinski House,hasbecomeanessentialpartofCanada’s National Ballet School. This change honored Joan & Jerry Lozinski for their exceptional support of the school, but the building's history isrichandintriguing.

Originally constructed by Sir Oliver Mowat, one of Canada's Fathers of Confederation, in 1856, this Georgian-style house is on land that Samuel Peters Jarvis once owned. Mowat, who was the great-great-uncle of the late Canadian author Farley Mowat, sold the house in 1861 to Edward Rutherford, the president of Consumers Gas Company. In 1913, Havergal College acquired the property, though the details of this transactionaresomewhatunclear.

Known as "Northfield," the house went through varioustransformations.HavergalCollegestayed at this location until 1932 before moving to Avenue Road. During World War II, the house servedasabarracksandtrainingfacilityforthe

Women's Division of the RCAF. In 1946, it became the Ontario Region Headquarters for the CBC. Finally, in 2005, it was integrated into NBS'scampus.

Ms. Staines played a pivotal role in guiding NBS through Project Grand Jeté. This ambitious project blended the historic Northfield House with cutting-edge facilities, reflecting the school’s commitment to preserving history while embracingthefuture.

The Celia Franca Training Centre, designed by KPMB Architects, is a striking glass-clad structurethatservesasabackdroptoNorthfield House. The architects designed it with three asymmetrically stacked horizontal platforms with floor-to-ceiling windows. This design not only reduces the visual impact on the streetscape but also creates a visually captivating environment where the city itself becomes a stage for the dancers.

One of the standout features of this project was the creation of a town square, which is now the heart of the school. The open space between Northfield House and the Celia Franca Centre was enclosed to form a three-story atrium. This atrium includes an L-shaped Corten steel fireplace and a large digital projection screen, making it a dynamic and inviting space for studentsandvisitors.

The town square embodies the school’s philosophy of nurturing the development of the whole person body, mind, and soul. It serves as a central hub where the school’s major support programs, such as the café, physio department, andresourcecenter,cometogether.

Ms.Staineswasinstrumentalinoverseeingthese developments, ensuring that NBS evolved while honoring its historic roots. Under her guidance, The Lozinski House stands as a testament to the school's dedication to excellence in ballet training and education, harmoniously blending thepastwiththefuture.

In summary, The Lozinski House doesn't just bring some fascinating history to NBS; it also shows how tradition and new ideas can work together perfectly. Because of Ms. Staines' hard work and the incredible support from Joan & Jerry Lozinski, the school continues to be a topnotch location for ballet education. It keeps its rich heritage alive while also looking forward to anexcitingfuturefornewgenerations.

PRIDE

The History of in Toronto

BY ARIANA BARILLAS

The arrival of June among many other things, brings tremendous joy to our beloved city

Friends chatting on patios, trees full and green in the park, and the feeling that new beginnings are just around the corner It is a time where the city just feels alive, breathing. Festivity is in the air and so is the feeling of community

Coinciding with these beautiful sentiments, June also signals the beginning of Pride Month, a celebration of a deeply vibrant, resilient, and important community that has brought and currently brings so much to not only Toronto, but to the entire world. June brings a reminder to reflect on a long history of bigotry and persecution, a history of the denial of rights and freedom.

Pride honours this history of the LGBTQ2S+ community, commemorating the courage of those who fought for equality and inspiring future generations to continue the pursuit of justice and inclusivity

While this sense of reverence and remembrance surrounding the month is deeply essential to understanding the mission of Pride, this month is also a celebration, a beautiful rejoicing in the excellence, achievement, artistry, beauty, and joy of the queer community. Festivities can be seen and found all throughout the city, and throughout all of June. It is a vibrant festival that spans the entire month, featuring art exhibits, film screenings, lectures, and street fairs. It brings the city to life and unites us all in a celebration of the freedom of the self, and of community.

Photo: Toronto

ThoughTorontoPrideisoneofthelargestand mostsignificanteventsglobally,itsjourneyto whereitisnowhasnotbeeneasy.Behindthe festivitiesweseetodayisalengthyhistoryof theTorontoLGBTQ2S+communityfightingto evenexistastheywere.TheoriginsofToronto Pride date back to the late 1970s, amid a climate of widespread discrimination against the LGBTQ2S+ community. The movement gained significant momentum following the 1981 police raids on Toronto's bathhouses, a targetedcrackdownthatresultedinthearrest ofnearly300men.Theseraids,reminiscentof earlier oppressive actions against LGBTQ2S+ spaces, galvanized the community and sparked public outrage. In response, thousands took to the streets in protest, markingoneofthelargestdemonstrationsfor gayrightsinCanadianhistory.Theseprotests laid the groundwork for the first official Pride event in Toronto in 1981. Initially a small and defiant gathering, it has grown exponentially, evolvingintothecelebrationweseetoday

Throughout the 1980s and 1990s, Toronto Pridebecamemoreorganizedandprominent, featuring marches, rallies, and cultural events that highlighted the diverse experiences and challenges of the queer community The 1990s,inparticular,sawPridebecomingmore inclusive, with greater participation from variousLGBTQ2S+subgroupsandallies.

Though today Toronto Pride is an event now unbelievably large in scale, and so recognized for its presence on the world stage, there is still plenty of work to do and fights to be fought. BIPOC remain underrepresented in the festivities, trans women of colour, and violence against them is still prevalent, and they remain vulnerable as we see negligence from Toronto Police and other supposed city services.

Pride serves as a crucial platform for advocating these issues, raising awareness, and bringing light to the places in our city where we cannot turn a blind eye It is vital that we do not forget the responsibility you commit to while participating in Pride, the duty you have to recognize these issues that affect members of the LGBTQ2S+ community daily. Pride includes everyone and should forget no one.

As Pride Month kicks off, Toronto reflects on its journey from the tumultuous days of the early 80s to becoming a beacon of hope and resilience. Toronto Pride is not just a celebration; it's a powerful reminder of the strides made and the work still needed to achieve true equality and acceptance for all. The collective spirit of Pride reaffirms that the pursuit of equality is a shared journey, and only when we come together, can Toronto continue to champion a brighter, more inclusive future

Spring show interviews The

ON LAY DANCES ON LAY DANCES ON LAY DANCES

By Morgan Renolds By Morgan Renolds Morgan

James Kudelka is an acclaimed Canadian choreographer who has pushed the James Kudelka is an acclaimed Canadian choreographer who has pushed the James Kudelka is an acclaimed Canadian choreographer who has pushed the boundaries of classical ballet through his recreations of well-known story ballets and boundaries of classical ballet through his recreations of well-known story ballets and boundaries of classical ballet through his recreations of well-known story ballets and new productions. He studied at Canada’s National Ballet School, worked with Les new productions. He studied at Canada’s National Ballet School, worked with Les new productions. He studied at Canada’s National Ballet School, worked with Les Grands Ballets Canadiens, and became the director of The National Ballet of Canada Grands Ballets Canadiens, and became the director of The National Ballet of Canada Grands Ballets Canadiens, and became the director of The National Ballet of Canada in 1996. in 1996. in 1996.

During his tenure as NBoC’s Artistic Director, he choreographed many notable During his tenure as NBoC’s Artistic Director, he choreographed many notable During his tenure as NBoC’s Artistic Director, he choreographed many notable works, such as full-length remakes of works, such as full-length remakes of works, such as full-length remakes of Cinderella Cinderella Cinderella and and and Swan Lake Swan Lake Swan Lake, as well as more , as well as more , as well as more experimental or contemporary works, such as Vivaldi’s experimental or contemporary works, such as Vivaldi’s experimental or contemporary works, such as Vivaldi’s Four Seasons Four Seasons Four Seasons and and and The The The

Contract Contract Contract. His musical choices span from pop to classical. His newest work on the . His musical choices span from pop to classical. His newest work on the . His musical choices span from pop to classical. His newest work on the National Ballet School utilises Micheal Torke’s National Ballet School utilises Micheal Torke’s National Ballet School utilises Micheal Torke’s Psalms and Canticles Psalms and Canticles Psalms and Canticles. In his works, he . In his works, he . In his works, he pushes dancers to the limits of their abilities with quick footwork that forces them to pushes dancers to the limits of their abilities with quick footwork that forces them to pushes dancers to the limits of their abilities with quick footwork that forces them to travel as much as possible. He was commissioned to create travel as much as possible. He was commissioned to create travel as much as possible. He was commissioned to create 5 Canticles 5 Canticles 5 Canticles for the for the for the National Ballet School last year and has now expanded the work (and renamed it National Ballet School last year and has now expanded the work (and renamed it National Ballet School last year and has now expanded the work (and renamed it Lay Lay Lay Dances Dances Dances) to include the entirety of Michael Torke’s score for the last year of Mavis ) to include the entirety of Michael Torke’s score for the last year of Mavis ) to include the entirety of Michael Torke’s score for the last year of Mavis Staines’ directorship of NBS. Staines’ directorship of NBS. Staines’ directorship of NBS.

Did the idea of the piece come first, or the Did the of the piece come first, or the the idea of the commission? idea of the commission?

What inspired you to use Michael Torke’s What inspired you to use Michael Torke’s What use music? music?

How have your ideas about the piece How have your ideas about the piece piece evolved after its premiere as ‘5 Canticles’ in evolved after its premiere as ‘5 Canticles’ in after its Canticles’ last year’s Spring Showcase? Were you last year’s Spring Showcase? Were you last Spring Showcase? Were you expecting to expand your piece for this expecting to expand your piece for this expecting year’s Spring Showcase? year’s Spring Showcase? Showcase?

The commission came about soon after having choreographed SCHOOL, which used a large portion of the student body, followed by the sadly aborted production of Beauty Awakens. In between those two projects came Jera Wolf’s wonderful Arise. The school was in the midst of a profound creative period, stretching from classically based ballet dancing to the contemporary

The first inspiration came from composer Michael Torke’s score. Michael and I collaborated on two full-length ballets during my tenure as Artistic Director of NBoC (The Contract and An Italian Straw Hat). I enjoyed collaborating with him and continue to be a big fan of his writing. Commissions had dried up for me, and there was little creative connection between us, though I kept track of his new works. I used a movement from his Miami Grands in Four Old Legs for C+C. When I moved to St John’s, his Psalms and Canticles appeared in my YouTube algorithm, and I remember unpacking boxes in my new home and listening to the recording and loving it. I think after the pandemic interruption, Ms. Staines invited me, in lieu of completing Beauty Awakens, which had lost too much momentum for me, to choreograph a different work for the Spring Showcase in 2023.

In the time available, it did not seem that I could complete the full forty minutes the work takes, and it was really a pragmatic decision to use only the final five moments, The Canticles.

On seeing the five canticles in action at the Spring Showcase last May and then receiving the news of Ms. Staines stepping down the following year, I asked, out of admiration and in honour of our more than five decades of friendship, if I could participate in her final spring showcase programming. This is how completing the full Psalms and Lamentations came about.

What is the idea behind Lay Dances? Is What is the idea behind Lay Is What Is there a particular idea that you would like there a particular idea that you would like that the audience to have in mind whilst they the audience to have in mind whilst they the in mind they watch this piece? watch this piece? piece?

The lyrics are quotes from the Christian The lyrics are quotes from the Christian The lyrics Christian Bible, is the intention of the name ‘Lay Bible, is the intention of name ‘Lay intention of name Dances’ to denote that the piece does not Dances’ to denote that the piece does not Dances’ that does not have any religious connotations? have any religious connotations? any

There is no particular idea behind the dance except to respond to the joy and the rhythms. Themes have appeared while making it. Movement motifs, the eyes covered, as if one is looking out in disbelief, or with an eye to the future. As with SCHOOL, there is always a theme that comes through as I work with the student body, and the age range of that, and my own history of having lived through all those stages of growth as a person at NBS myself.

The quotes Michael uses are indeed from the Christian Bible and, on deeper study, might seem unsuitable for a music choice for a student's work. Michael is preoccupied with the profanity rather than the sacred in the texts. He has written several pieces using edited biblical quotes, and it is often eyeopening to realize what a sensuous and often erotic document the bible and ancient scripture can be.

He is not preoccupied with original sin, however, and that we are all damned. Michael celebrates the physical spirit in his settings of his texts.

Probably the most attractive part of the score for me is the energy of it. I find a lot of choreography today exists alongside music and not ‘in’ music. There is a lot of atmospheric background sound now, but not a lot of musicality is demanded from the performer. I think one of the attractive parts for all of us working on Lay Dances is the infections rhythms in it. Michael is very disciplined in how he writes his scores, often taking the smallest snippet of an idea, two different notes seesawing with each other that get developed into a full-length ballet. And I have tried to pick up on that. Almost every dance in Lay Dances utilizes the simple “step coupé step’ or ‘chassé coupe chassé’ motif. That is performed right from Eamon’s first entrance and is repeated throughout, in the quartet, and the entrance of the woman in the first duet, by the corps de ballet of woman in the Fourth Canticle, and in the couple’s dance in the finale.

Starting with the younger dancers was just a good place to begin. These dances made for student bodies are not as important to me as finished ‘masterpieces’ but opportunities for the students on every level to experience various ways of working especially in large groups. I like working with large casts, but they are more exhausting! When you consider that in the first dance alone with the junior grades, there are, I think, 39 in the cast, which is larger than any corps de ballet of 24 swans. Add to that number the number of dancers in the successive movements. These are dances on a scale that one doesn’t meet in even the largest of the big ballet companies. So, Lay Dances is in a class of its own.

developed and repeated until it reaches an developed and repeated until it reaches an repeated until it an iteration which is interlaced with iteration which is interlaced with is interlaced with technically difficult ballet steps executed technically difficult ballet steps executed technically difficult steps by senior students. Was this a natural by senior students. Was this a natural by senior students. this a natural progression that started with an idea, or progression that started with an idea, or with an was it a carefully planned provocation that was it a carefully planned provocation that planned provocation says something about the human says something about the human says something about the condition? condition?

I have addressed a lot of these questions above. The human condition? I don’t think I have heard that expression for some time. I don’t know whether the human condition exists anymore since being human has been so taken over by the digital that we are losing our humanity while we have increased our communication outlets. It is troubling.

Lay Dances begins with a young boy looking out and forward and ends with a man unable to reach his eyes, unable to imagine a future. There could be a story in this, but it may just be a coincidence. Life and dance are not always tidy.

Segueing to a question about your process

Segueing to a question about your process as a choreographer. You have done many as a choreographer. You done many choreographer. You done many pieces of choreography ranging from story pieces of choreography ranging from story of choreography ranging story ballets to contemporary works. In general, ballets to contemporary works. In general, ballets how spontaneous are you when it comes to how spontaneous are you when it comes to how it

planning your pieces? How much of a planning your pieces? How much of a planning of formed idea of the choreography do you formed of the choreography do you formed of choreography have when you enter the studio? have when you enter the studio? studio?

Michael Fokine wrote that one should use the proper and right mode for each piece. Depending on the dancer, the company, the city, the budget, one is bent toward the correct response, but that is often not even known until hindsight takes over afterward. I have had to explain to the younger dancers in Lay Dances that though it may seem I know what is coming next, I don’t. I have tried throughout my creative life to let the muse have her or his way with me. And not to get in the way of that. I have spent my whole life wondering where the pieces come from. Because I could not trust my ‘normal’ day-to-day self, I decided that if I choreographed every day and worked constantly on making ballets and dances, I would not have to question whether I could. I was doubly fortunate in this because, for a very long time, I had more opportunities than I may even have deserved. Not all my work was successful, but I churned out enough work that eventually I made some dances that had lasting power It is a thing of wonder to me that Nutcracker has had lasting power. Four Seasons had a long life. The Man In Black is constantly being staged here and there.

But now that I have taught, I still would call myself a choreographer who can teach, but unlike many choreographers, I would not call myself a dancer. I have little natural dance talent even if I enjoyed moving to music. I could not take to a dance floor in a club with anything better than horrifying self-consciousness. I needed the restrictions of ballet language to speak. I had the technique, and I think the world would be a lesser place if we lost ballet technique during this period of hyper-self-actualization, which seems to have resulted in a lot of creative works that look remarkably similar to each other. A lot of work you would not care to ever see more than once, even if it was satisfying to the performer to dance it. Certainly, every person on earth has the right to dance. Ballet, however, is a language of its own and is best danced by those inner dancers who are willing to learn to speak it, with all its rules.

What are the next steps for the What are the next steps for the What the next for world of ballet in your opinion? world of ballet in your opinion? ballet your

What is your goal as a ballet

What is your goal as a ballet is a choreographer? choreographer? choreographer?

I no longer have goals. I don’t really need them. Making a dance is something I can usually do, just as teaching a class happens without my actually knowing how or why. Teaching allows me to use my dancemaking reflexes to respond to the immediate needs in the room. In the end, I think that a class, or a dance, should offer the dancer the opportunity to excel, to become a better dancer and maybe even a more complete artist. I see work now that I don’t think fulfills the promise of dance, and of ballet anymore. There are people who have given their lives to be actual pedagogues and ballet teachers. I fell into teaching without actually having decided that it was something I ever wanted to do.

It may need to go back to the classroom to find out where the creativity is. I was taken by a moment in the documentary Get Back when John Lennon looks at a piano keyboard and comments on all the different kinds of music that has been made and will be made using those 88 keys. I think there is a basic alphabet in ballet, five positions of the feet, seven movements of ballet, eight positions of the body, and basic port de bras (I am referring to my education as a Cecchetti-trained dancer) that still have more to teach and for use to use to make ballets. In my time, ballet became a dirty word, and presenters were loath to even use it to describe what they were selling. How did this happen? I wonder if it was somehow my generation's fault.

This interview has been edited for length and clarity

A big thank you to James Kudelka for sharing his wise insights and experiences!

TAYLOR LABRUZZO ON COME IN

By Noah So and Eric Nimchuck

As a repetiteur of Come In, how has sharing the work with a new generation of dancers shifted your view on the piece, if at all?

Knowing the roots of this work and the history of Mikhail Baryshnikov within its spirit and bones, sharing Come In with young dancers really brings out the timelessness of the work The casting of all male-identifying dancers is particularly poignant, as it was not originally created this way. I love the opportunity this presents to us all; male dancers don’t often get to perform together as a united group, and one rarely gets to lead a room full of such eager, talented young men That in and of itself has a great impact, yet it is reinvented with each group to dance the work. It’s just such a special experience to watch new generations of dancers rise to the occasion each and every time.

What does Come In mean to you, as someone with a special knowledge of the choreography?

I feel like Come In really requires patience. It requires you to leave your ego at the door and asks you to simply be. I don’t believe this opportunity is offered to dancers all that often, and it presents a particular challenge to younger dancers who must dig deep to find that maturity For me, it’s a lot about the process of learning that lesson, discovering a simpler way of being, and trusting that you are enough. Come In represents a journey, and I believe that journey is reflected in the process of recreating/learning the dance, which is where the magic lies

What was your most memorable experience while working at NBS?

The people, the people, the people! I’m not sure I’ve ever been welcomed with such open arms, minds, and hearts Watching these dancers surrender to this process has been a really profound journey to witness Scraping away to the essence of who the dancers are as humans and asking them to bring that into the work, and then watching them do exactly that…There’s nothing like it. But if I had to pick one singular moment, it would be the very first time we ran the entire work from start to finish. To see everything we had all worked so hard on come together Well, there’s nothing better than that

Gala des Écoles de danse du Xxi siècle

e

By Jake Marshall

For one spectacular evening, the “Gala des Écoles de Danse du XXIe Siècle” brought together students from prestigious international dance schools to perform on the iconic Palais Garnier stage.

This year, the Paris Opera Ballet School had the honor of hosting and sharing the stage with students from the following esteemed institutions: Canada’s National Ballet School, The Dutch National Ballet Academy (Amsterdam), La Fondazione Accademia Teatro alla Scala (Milan), The School of the Hamburg Ballet John Neumeier (Hamburg), The San Francisco Ballet School, The Royal Ballet School (London), and The Royal Danish Ballet School (Copenhagen).

NBS chose several senior students to represent the school and to perform selected pieces from James Kudela’s Psalms and Canticles. The dancers in Paris included: Reine Bourassa, Elia Roger-Viviès, Emerson Gamble, Ryusei Nagafuchi, Alexander Stevens, Yuki Chikai, and Jake Marshall.

Rumination:

Student Choreography Review

By Logan Yang-McMillan

Rumination, choreographed by student Una Conneely and performed by Isabella Barillas, Olivia Forestier, and herself, is quite emotional. This piece is based on the constant struggle to fight negative thoughts in the course of our daily lives. In this dance, the main dancer portrays the average person who is continually pushed and pulled in waves of negative emotions performed by other dancers, before finding personal happiness in the end. Ms. Conneely intended to call attention to "the thoughts you have that aren't always helpful" in this piece, such as those you have towards yourself after an unsatisfactory ballet class or an unfavourable academic grade. This meaning fits perfectly with the name of the piece Rumination, which means to repetitively think or dwell on negative feelings no matter the situation, large or minuscule.

This work is Ms. Conneely’s first piece of choreography. Prior to creating the piece, the thought of creating her own work had not crossed her mind, but Mavis Staines saw her potential and opened up this door for her. Ms. Staines saw how Ms. Conneely took the steps from an exercise and made it her own. Ms. Conneely was then given the opportunity to create freely, resulting in the piece we see today.

Alice’s Adventures in Wonderland: Review

By Alimah McAllister

Alice’s Adventures in Wonderland, performed by the National Ballet of Canada, is an amazing show It tells the story of a girl named Alice who is seeking the answer to one question… Who am I in the world? Along the way, she encounters many new faces, such as the Mad Hatter, the Cheshire Cat, and the Queen of Hearts.

It is filled with incredible special effects and fun audience interactions. It’s the perfect show for the whole family and for young children It still speaks to adults with inside jokes and dancers in the aisles at the beginning of the performance It is a new and modern take on the classic story and shows what you can bring to the stage. Even though this piece has three acts, it never seems to lose its sense of wonder and fun!

The ballet is an amazing piece that shows how the stage and theatrical performances work in the ballet world. It seems to make the audience feel more relaxed and happy because it is so different. This ballet has similarities to the movie and book, but it still has its own details, which makes it even more special to watch! It is definitely worth watching, and I would 100% recommend it!

TheFastFashion Paradox

How Gen Z's Social Media Habits Are Harming the Planet

ByNeveFaulconer

We all know Gen Z is super ecoconscious. Many young people are seriously worried about climate change. But here's the twist: while we care a lot about the environment, our social media habits are actually boosting the fast fashion industry, which is terrible for the planet and workers

A survey by Pew Research Center shows that 70% of people aged 18-34 are concerned about global warming. Yet, every day, millions of us hop onto TikTok and see tons of posts that push us to buy more stuff. Influencers and viral trends make us feel like we need to keep up with the latest fashion, and that often means buying cheap, trendy clothes from fast fashion brands. TikTok and other social media platforms have sped up fashion trends like crazy What used to take years for trends to change now happens in just a few months.

This means people feel pressured to constantly update their wardrobes to stay fashionable. As a result, we end up buying more and thinking less about personal style, leading to a lot of impulse purchases from fast fashion brands

The effects of this are huge. The fast fashion industry has massively grown to meet our demand for new clothes. Research shows that clothing production has doubled in the past 15 years This increase leads to major environmental damage, with the industry generating 92 million tons of waste each year. Most of these clothes are low quality and end up in landfills after just a few wears But it's not just the environment that suffers The fast fashion industry is also notorious for human rights abuses. Many brands use exploitative labor practices to keep their prices low

Around 50 million people are trapped in modern slavery, and a big chunk of them are in the fast fashion industry These workers face terrible conditions and get paid very little, all to keep up with our fast fashion demands.

In short, even though Gen Z is known for caring about the environment, our social media habits are driving the growth of the fast fashion industry, which is really harmful By learning more about the impact of fast fashion and making smarter shopping choices, we can help reduce this damage. Let’s move away from fast fashion and embrace a more sustainable and thoughtful approach to style, for the good of our planet and the people on it.

So, what can we do about it? Here are some easy ways to help:

1. Shop Vintage and Secondhand: Thrift stores and vintage shops have awesome, unique pieces that last. Buying secondhand reduces the need for new clothes and helps keep old clothes out of landfills.

2. Invest in Quality: Instead of buying lots of cheap items, go for fewer, high-quality pieces that will last longer. This helps build a timeless wardrobe that doesn't need constant updating.

3. Clothing Swaps: Trade clothes with friends or join community swaps. It's a fun way to get new-to-you clothes without buying new stuff.

4. Support Ethical Brands: Look for brands that prioritize sustainability and fair labor practices. These companies usually make clothes in environmentally friendly ways and treat their workers fairly.

5. DIY and Upcycle: Get creative and turn old clothes into new styles. This not only extends the life of your clothes but also makes your wardrobe unique.

6. Spread the Word: Use your social media to raise awareness about the issues with fast fashion. Influencers can help their followers make more sustainable choices.

INTERNATIONAL WOMEN’S DAY

March 8, 2024

By Coco Perrott

The International Women’s Day’s genesis started long before the Feminist Movement of the 1960s; it goes back to February 28, 1909, in New York City when Theresa Markiel, inspired by an urban legend involving a protest of women garment workers on March 8, 1857, proposed the idea of a National Women’s Day to commemorate this protest. Not long after, German activist Luise Zietz suggested an annual International Women’s Day to promote women’s rights (including suffrage), and was quickly seconded and supported by Kate Duncker and Clara Zetkin. Eventually, 100 women delegates from 17 countries agreed with the suggestion, and the first International Women’s Day was soon held on March 19, 1911.

“WHEN THE WORLD TELLS YOU TO SHRINK, EXPAND.”

– ELAINE WELTEROTH

Over time, more countries started recognizing this day, and the demand for women’s rights gained momentum. In the 1960s, the next generation of women fought during the feminist movement for equal pay, the right to vote, reproductive rights, equal economic opportunity, and the prevention of violence against women. The United Nations began celebrating Women’s Day in 1975, and in 1977 they invited members of the organization to declare March 8 the UN Day for Women’s Rights and World peace.

Today, Women’s Day is an opportunity to recognize and appreciate the women who came before us and fought to get us where we are today and to remember that there are still parts of the world where women and girls are treated unfairly and live in poor conditions. There is still more work to be done. Let’s not let Theresa, Luise, Kate, and Clara down!

Grade 9 Mask/Headpiece Projects

OLIVIA FORESTIER

UNA CONNEELY

JOSEPHINE DEIKE

SOPHIA ZHOU

ALICE FUNG

BELLA BARILLAS

DMYTRO BEREZHNYI

REX OWEN

MANAMI FREEDBERG

DAYOUNG KANG

COCO PERROTT

LILY TURNER

ALYSSIA KING

BY COCO PERROTT

FELIX BOTTENHEIM-CARON

MEGHAN CAIRNS W/ MODEL SOPHIA ZHOU

RINKA SUGIYAMA

ANNA DIETZ

EMILIA GONZALEZ W/ MODEL TALIA PRIKHOJI

JACK GIBBINS

6TH GRADEART

PUPPETS!

by Kaylee Koronas

The Grade 6 Term Two art project is alwaysafavouriteone:puppets!Each studentchoosesananimal,aswellas costumes and any accessories, and createstheirmasterpiece Thisproject is a fun class activity, but it also teachesusmanydifferentskillsforthe future,likemendingatearorreplacing abutton.

Check out the puppets in the photos, including Caelyn’s piano-playing bunny named Bounet, Ann-Mei’s mouse named Sprite, Kaylee’s frog chef named Frankie, and all of the otheramazingcreationsbyMr.Locke’s Grade6class.

THE TRAIN RIDE

A SHORT STORY

BY OCEAN SMID AND JOY QIN

The traveller finally settled in on the train when they realised they had the wrong suitcase. They wondered how long it had been that they’d been carrying around someone else’s things With the suitcase wide open, they sighed and rushed to close it, but saw something familiar. Something familiar, but not something that belonged to them. This strange and uneasy feeling made the traveller wonder who it belonged to. With a furrowed brow and a hand clutching at their gasping breath, they zipped it up and called over one of the train’s ticket collectors. The girl quickly walked over and smiled sweetly, showing the lipstick stain on her front tooth.

“Hello, anything I can help you with?”

The traveller nodded, and bent down to open the suitcase sitting on the ground in front of them. The girl froze, she took a quick glance around as she crouched down as well, then looked the traveller dead in the eye. The traveller broke their gaze, staring down at the suitcase lying open face once again, and as the girl recognized the object, she let out a small shriek The traveller covered her mouth immediately, then as they stared at their own reflection through the girl’s teary eyes they whispered to her.

“Take me to the conductor ”

The girl nodded in silence while the traveller took one last look at the object before zipping up the suitcase. The trip down the aisle of the train was tense and felt like it lasted forever. The suitcase’s handle kept on sliding around in the traveller’s sweaty palms, they gripped it tighter

As the traveller and ticket collector neared the caboose of the train, they saw the conductor sitting peacefully and completely absorbed in the crossword puzzle on the table in front of him The conductor looked up from the book, seeming to sense their presence. He gently placed his pen down beside his book.

“Hello there. How can I be of service to you my friend?”

The ticket collector turned her head to look at the traveller, using her eyes to tell them to talk to the conductor themselves. The traveller, still in too much shock to explain, simply placed the suitcase down in front of him, knelt down, and began to unzip it once again. As the suitcase began to unfasten, the girl’s face began to streak with tears once more She turned, facing away from the suitcase, and slowly adjusted her breath to calm herself down. Seeing her state, the conductor began to worry. What could be so horrible about the suitcase? He thought. The suitcase was finally planted wide open in front of the conductor, it took a second for him to recognize what was inside. He then understood right away what the girl’s reaction was all about. He looked up at the traveller in astonishment, and the traveller looked back at him with their brows in a knot of worry

“You brought this on the train?” The conductor asked, looking abruptly more mad than worried.

“No sir, I ”

“Why is that in your suitcase? Answer me!” The conductor aggressively pushed the traveller against the wall by their shirt collar

“Sir,” the traveller began in an apologetic tone.

“This isn’t my suitcase. They got switched somehow.” The conductor let go.

“Get out of my sight.” The traveller found all the eyes of the caboose on him.

“Was I not clear enough? Get out, right now!”

The conductor projected his voice even louder and shoved the traveller out. As the traveller slowly walked backward from the door, they bumped into the others travelling aboard the train, who had come at the sound of the beginning chaos. Among the crowd, the traveller’s eyes met with a stranger’s. His eyes looked familiar but the traveller was too busy worrying about the present situation to recall why They exchanged a nod of understanding, and the traveller continued down the long-ish walk to their private compartment to consider their next steps They arrived in their compartment Everyone thinks I did this They thought.

There was a sudden knock on the door.

Five years later

As the woman in a vintage brown coat made her way on the train, she reached under her seat to secure her suitcase. She gasped as she realised the suitcase she’d been carrying had two perfectly secure golden latches on it, instead of the flimsy silver ones she had gotten used to. This was not her suitcase.

“No, not this. All my important files, they’re lost!” She stared at the unfamiliar suitcase beside her feet. The man sitting beside her turned his head toward her curiously.

“Wrong suitcase Ma’am?” he chuckled. “What a coincidence.”

“Excuse me?” The woman frowned, suspiciously

“Oh no Ma’am, I don’t mean to offend I’m just surprised because five years ago today, a passenger carried a suitcase containing a special bomb on a train in this same station.

Well, long story short, the whole train was crushed and subsequently exploded.” He said this calmly, his green eyes shimmering under the sunlight from the window The woman suddenly became entranced, turning her entire body to face this stranger.

“Oh, yes! I remember reading that in the paper and thinking how terrible and twisted that soul was!” She let out a halfhearted laugh, “What a coincidence!” The man nodded

“Well, what no one truly knows is that the individual's suitcase actually got switched. They accidentally brought someone else's suitcase aboard.”

“No,” the woman looked shocked, “I heard those rumours before, but thought they existed only to make them look less guilty. And even if it was true, how would you know?” The woman flirtatiously nudged him playfully and winked.

“Because his suitcase was mine. I carried the bomb and switched my bag with theirs ” The man smiled proudly The woman didn’t seem to take it seriously. She bit her bottom lip.

“Now that’s a way to get a woman's attention.”

“You think I’m joking?” The man asked with a sly smile appearing on his lips.

“Mhm,” the girl responded sweetly, batting her eyelashes

“Well, why don’t you check your suitcase?”

BY KARIN LALDJISING

HAPPYJUNE,EVERYONE!

ASANOTHERBEAUTIFULSCHOOLYEARDRAWSTOACLOSE,WEGETONELASTISSUETO REFLECTONWHATTHESTARSFORESEEINOURINSPIRINGNEAR-FUTURES.

JUNEISNOTONLYFULLOFCELESTIALEVENTS;ITISASENTIMENTAL,BITTERSWEET (PARTICULARLYFORTHEGRADUATINGCLASS),ANDTRULYSPECIALTIMEWHERETHE BUDOFNEWBEGINNINGSAREREADYTOBLOOMINTOVIBRANTOPPORTUNITIES,NEW ENCOUNTERS,ANDCHERISHEDMEMORIES.ITHOUGHTIWOULDTAKEADIFFERENT APPROACHTOTHISMONTH'SKEY"ASTRO-CONCEPT"ANDHIGHLIGHTSOMEOFTHEMOST SIGNIFICANTDATESINJUNETHISYEAR.APPROACHTHESEDAYSINWHATEVERWAY RESONATESANDALIGNSMOSTWITHYOUANDYOURLIFEATTHISMOMENT.PERHAPSYOU COULDMAKEPLANSTOSPENDANAFTERNOONWITHYOURCLASSMATESASTHE ANTICIPATIONOFGRAD,THEENDOFTHEYEARANDNOSTALGIAREACHESITSPEAKON THESENTIMENTALDAYSOFJUNE16&17.

KEY“ASTRO-CONCEPT”OFTHEMONTH

Monday,June3:EnhancedcommunicationandmentalagilityasMercuryentersGemini.

Thursday,June6:AfreshstartandnewopportunitiesemergewiththenewmooninGemini.

Saturday,June8:IncreaseddeterminationandfocusonpracticalmattersasMarsentersTaurus.

Sunday,June16:DeepenedemotionalconnectionsandloveasVenusentersCancer.

Monday,June17:EmotionalcommunicationandnurturingthoughtsasMercuryentersCancer.

Wednesday,June19:IncreasedpassionandcreativityinpersonalpursuitsasVestaentersLeo.

Thursday,June20:Emphasisonhome,family,andself-careasthesunentersCancer.

Friday,June21:CulminationandreflectiononachievementsandgoalswiththefullmooninCapricorn.

Saturday,June29:Timeforintrospectionandreassessmentoflong-termplansasSaturngoesretrograde.

WHAT’S IN STORE FOR EVERYONE ELSE?

ARIES

JUNE BOOSTS YOUR CONFIDENCE, MAKING IT AN IDEAL TIME TO PROMOTE YOUR PROJECTS AND ENJOY WELL-DESERVED LUXURIES. BALANCE YOUR HUSTLE WITH RELAXATION AND INDULGE IN LIFE'S FINER THINGS. EXPECT SIGNIFICANT PROFESSIONAL NEWS THAT SIGNALS EXCITING NEW BEGINNINGS.

TAURUS

THE MONTH STARTS WITH HEIGHTENED INTUITION, SO PAY ATTENTION TO THE UNIVERSE'S SUBTLE MESSAGES. YOU'LL FIND YOURSELF MOTIVATED TO TACKLE CHALLENGES HEAD-ON, BOOSTING YOUR CONFIDENCE AND CHARISMA. CHERISH YOUR FRIENDSHIPS AND SOCIAL CONNECTIONS AS YOU NAVIGATE THIS MONTH.

GEMINI

HAPPY BIRTHDAY, GEMINI! JUNE ENHANCES YOUR COMMUNICATION SKILLS, ESPECIALLY IN ROMANTIC RELATIONSHIPS. EMBRACE FRESH STARTS AND NEW OPPORTUNITIES TO EXPRESS YOUR AUTHENTIC SELF. FOCUS ON ALIGNING YOUR OUTWARD IMAGE WITH YOUR INNER DESIRES, AND BE PATIENT WITH THE PROCESS OF GROWTH.

CANCER

HAPPY BIRTHDAY, CANCER! THIS MONTH ENCOURAGES HEALING AND SELF-REFLECTION. YOU'LL FEEL LOVED AND APPRECIATED BY FAMILY AND FRIENDS, MAKING THIS A NOSTALGIC AND HEARTWARMING TIME. CELEBRATE YOUR JOURNEY AND THE SPECIAL BONDS IN YOUR LIFE.

LEO

RECONNECT WITH OLD FRIENDS AND EXPLORE NEW SOCIAL CIRCLES THIS JUNE. YOU'LL FIND NEW IDEAS AND OPPORTUNITIES FOR CAREER ADVANCEMENT. PRACTICE SELF-CARE AND CHERISH YOUR CHOSEN FAMILY, ESPECIALLY AROUND SPECIAL OCCASIONS.

VIRGO FRESH STARTS IN YOUR PROFESSIONAL LIFE AND DEEP REFLECTION ON LIFE'S BIGGER QUESTIONS CHARACTERIZE JUNE. CELEBRATE MEANINGFUL CONNECTIONS AND INDULGE IN RELAXATION TO MANAGE STRESS. EVALUATE YOUR RELATIONSHIPS AND MAKE NECESSARY CHANGES FOR YOUR HAPPINESS.

LIBRA

CLARITYCOMESTOYOURRELATIONSHIPSTHIS MONTH, ALONG WITH OPPORTUNITIES FOR STIMULATING CONVERSATIONS. EMBRACE INTIMACY AND PRIORITIZE YOUR CLOSEST CONNECTIONS.EXPECTEXCITINGPROFESSIONAL OPPORTUNITIES AND CHERISH TIME WITH FRIENDS AS YOU BALANCE WORK AND RELAXATION.

SCORPIO

JUNEEMPHASIZESTRANSFORMATIONANDTHE IMPORTANCE OF COMPROMISE IN YOUR RELATIONSHIPS.PASSIONANDINTENSITYWILL BE HIGH, SO KEEP A COOL HEAD TO AVOID CONFLICTS. REFLECT ON YOUR CONNECTIONS AND AIM TO STRENGTHEN THEM THROUGH UNDERSTANDINGANDHUMILITY.

SAGITTARIUS

START THE MONTH WITH JOYFUL SOCIAL INTERACTIONSANDPLAYFULENERGY,PERFECT FOR RECONNECTING WITH LOVED ONES. EMBRACE NEW PLEASURES AND DEEPEN YOUR PARTNERSHIPS. PERSONAL GROWTH AND POSITIVE FINANCIAL NEWS ARE ON THE HORIZONASTHEMONTHPROGRESSES.

CAPRICORN

THIS MONTH FOCUSES ON YOUR WELL-BEING ANDENCOURAGESCREATIVEPROJECTS.ENGAGE INDEEPCONVERSATIONSANDLETYOURSOCIAL CIRCLESSHINE.EXPECTCLARITYANDPOSITIVE OUTCOMES IN BOTH PERSONAL AND PROFESSIONAL AREAS AS YOU REFLECT ON YOURGOALS.

AQUARIUS

JUNE BRINGS HEAT TO YOUR LOVE LIFE AND SPARKSCREATIVITY.EMBRACENEWPERSONAL VENTURES AND FIND A HEALTHY WORK-LIFE BALANCE. RE-EVALUATE YOUR FINANCIAL STRATEGIES TO ALIGN WITH YOUR LONG-TERM GOALSANDENSUREYOURFUTURESTABILITY.

PISCES

HEALING AND NOSTALGIC MOMENTS ENHANCE YOUR AWARENESS OF FAMILY DYNAMICS THIS JUNE. ENGAGE IN CREATIVE PROJECTS AND PRIORITIZE RELAXATION. LOOK FORWARD TO CLARITYINYOURDREAMSANDGOALS,LETTING GOOFUNNECESSARYEXPECTATIONSTOFOCUS ONWHATTRULYMATTERS.

LOOKING BACK AND LOOKING AHEAD WITH THE CLASS OF 2024

What will you miss most about NBS?

One thing that I will really miss about NBS is not a physical aspect of the school, but instead the way in which it brings people together from all over the world who all share a common passion. There is just something so powerful and special about that. I am so grateful to have made such strong connections with people through this school and our love for dance.

--Sarah

Myclassmates :) --Mei-Chi

ThememoriesthatIwasable tocreate withmyclosestfriends --Jaiden

I will miss the family I have accumulated over the years, as new people have come in every year and added to my life. All these people who have known me at different stages of my life, both friends and teachers. I’ve spent so much time here and I will miss growing up here. I’ve had a lot of really important life milestones and life moments at this school and so many people here have watched me as I have progressed in life. I have felt so seen by so many people. Leaving a place that has known me for so long is going to be really hard.

--Ariana

I will miss the family that I made during my time at NBS -- Elia

The friends that I made. They really helped me grow as a person. Everyone's love and support is something that I am so grateful for. NBS has been a place where I have been able to explore who I am as a person, rather than just who I am as a dancer. It is a place where I have been loved and supported while I discover who I am.

--Karin

Spending time with friends and dancing with my class --Kat

Myfriends definitely. I’ve met a lot of reallyinteresting and really capable people here that I have loved spending time with. I’ll also miss dancingin the D studios

lot. --Emi

a

Thecommonroom. Becauseit’swhereweallhangout andtherearesomany memoriesinthecommonroom.

--Sophia

I’m going to miss the best friends I’ve made here and the wonderful, supportive teachers that have helped me grow. I will miss reading and napping in Queen’s park, watching $5 movies at Carlton Cinema, and dancing in our beautiful sunlit studios. A piece of my heart will stay in Toronto forever

<3 --Neve

LOOKING BACK AND LOOKING AHEAD WITH THE CLASS OF 2024

What are you most excited for after graduation?

After graduation I am really looking forward to maintaining my current relationships, building new ones, and continue my dancing. In the short term, I cannot wait for summer! I love swimming and spending time in the sun with my family, friends, and little dog Ruby:) --Sarah

I’m excited tobecome more independent andhave more agency about when and whatI want todo with mytime.I want to tryalot of new things. --Emi

I’m excited to explore everything that I can be outside of NBS. I‘m really excited to be in a new environment with new people and to see what I can bring to their life and they can bring to my life. --Ariana

Enjoying summer!--Kat

Getting my firstapartment, moving to a new city withnew people, andstarting the next chapter ofmy life. --Jake

To start auditioning next year in CLP!--Jaiden

I am really excited about new beginnings and new experiences. I am excited to face new challenges, meet new people, feel new feelings, and continue growing as a person. I am also excited to keep in contact with my friends, see where life takes us all, reconnect in the future, and stay in each other's lives.

--Karin

I’m excited to start the next chapter of mylife in Amsterdam! I can’t wait to discover new passions, explore new cities and meet new people. --Neve

I am very excited to tan and enjoy the summer with my family, but I also can't wait to start my adult life. --Elia Keep dancing --Mei-Chi

I am so excited to move to Amsterdam. I can’t wait for a new start and a completely different life and community.

I’m so excited to take everything I’ve learned here to Amsterdam and to continue growing. --Sophia

Staff and Contributors

Chief Editor: Neve Faulconer

Advisors and Co-editors: Melanie Garcia and Lesa Smith

Photographer: Emi Horkan

With Contributions from NBS Junior and Senior School Students:

Ariana Barillas

Jake Marshall

Morgan Renolds

Alexandra Orradre

Emerson Gamble

Naiah Kulla

Tessa Mitchell

Karin Laldjising

Chloe Forestier

Mia Kwong

Emilia Loertscher

Katherine Lee

Juliette Smith

Ocean Smid

Noah So

Eric Nimchuk

Ellis Gallant

Andy Gorzo

Chloe Hogan

William Sinclair

Valentina Spendlingwimmer

Sydney Tang

Joy Xilinqin

Lauren Laframboise

Logan Yang-McMillan

London Hope-Benjamin

Maxwell (Max) Moore

Minka Hall

Nina Bebzuck Marom

Ruthie Hernandez

Sophia (Wenlu) Zhou

Una Conneely

Victoria Pena

Alimah McAllister

Ann-Mei Yang

Caelyn Zhang

Cecilia Campbell-Cotter

Coco Perrott

Cynthia (Yihan) Yang

Eliza McCready-Branch

Ella Morriss

Emilia Elizabeth Gonzalez

Félix Bottenheim-Caron

Grace Hong

Isabella Jiang

Jenna Curre

Julia Thompson

Kaylee Koronas

Photos by Emi Horkan