Le Patin Libre

I saw these talented artists last month on the Rideau Canal in Ottawa. Above is a video of them performing in Montreal at Nuit Blanche, courtesy of their YouTube channel. Think hip hop on skates. They're amazing. I see they have a show coming up on March 20th in Montreal - check it out!

Guerilla Dance Theatre

I learned this week that out of suffering we can create beauty and take action toward change. It has inspired me to found the Guerilla Dance Theatre Company.

Dance theatre is something I discovered while living in London, England, from 2007-2008. It spoke to me as an audience member in a way like no other dance I have done (ballet, jazz, hip hop, swing, flamenco) could. I have had the great privilege of studying modern dance with Cumbrae, Elaine Hunter, Caithream Celtic Dance Fusion and Natasha Royka Pilates and Dance, all in Ottawa. I credit Natasha for my 6 year incubation and recent awareness of my dance vocabulary.

I doubted that I had a dance vocabulary: I'm not a dancer, I told myself time and again. I'm too fat, too short, too busty, too (formally) untrained. I can remember looking into the ballet mirror at the age of 8 and realizing I was one of the larger girls in my class. Others perhaps unintentionally impressed it on me that there was little value in pursuing my passion to dance, and I was vocally discouraged from auditioning for theatre at Canterbury High School. When I didn't audition for theatre school after high school, I felt I had personally failed my drama teacher and mentor, Bernard Leger, who had taught me leadership skills and saw in me what I couldn't see in myself. Because of him, I am the arts activist I am today. And now it is time to put that activism into the art I defend so heartily in the city I love so much.

My dad and I at the Victoria Theatre, London, UK before Billy Elliot

Fast forward 6 years, age 22. I'm sitting in London, England, with my dad at the Victoria Theatre performance of Billy Elliot in London's West End, and before the show starts he turns to me and feels the need to exorcise a parental regret. He is moving me in on the eve of starting my Master's program at the London School of Economics and he says something along the lines of, "I know you've always wanted to dance, if you would like to do that now, I give you my blessing." I feel shocked. What do I do with my 40,000$CDN line of credit? How do I get a visa to make money as a dancer with my student visa to study at LSE. If I dance professionally, how do I pay back the loan? No, I tell myself, this is an impractical and albeit bittersweet permission that comes too little, too late.

Dancers from Surrationality after the LSESU's recital, Soul Calibre, choreographer Francesca Cookney in the Centre, February 2008, Old Building, LSE Campus

But of course it's never too late. Timing is a perception that resides in one's mind and is confined by one's expectations. I re-discovered modern dance at the London School of Economics Student Dance Union where I was cast in two pieces for their annual revue. That year, I danced and acted my way through my Master's - what I look back on now as an anthropologist to be an intellectual and character building ritual; a rite of passage of Gen Ys. But dancing was an enthralling experience, and one that helped me translate and channel the culture shock of a.) graduate studies b.) in British culture. I was so impressed with the calibre and professionalism of all of the performers that I felt like I had a little bit of the art school experience I always wanted. All of us were closeted artists: my choreographer was doing her Master's in geography, the fellow dancers were doing classic LSE curricula in International Relations. We were going to go to law school, start careers with the UN, save the world and earn a living after this formation. My choreographer, a wonderful inspiration, has since told me that she has shut the door on her dance life, and it saddens me, because I know one can have it all if one makes balance a priority.

So I have. In the middle of a demanding law school curriculum, I have founded the Guerilla Dance Theatre Company with the support of my husband and friends. It will shock, it will critique, and it will inspire as only I hope it can.

Success: Legs were Broken!

My first performance as part of a professional dance company was a smash success!

What an opportunity to perform as part of the Natasha Royka Dance Company at the Grand Re-Opening of the Museum of Nature! I am so thankful to have had this opportunity to grow as a dancer and performer and to have been part of this landmark event.

Costumed by Bugs and Balloons from New York City, we dancers roamed the museum silently interacting with guests, while staying true to the animals and reptiles we were portraying, and entertaining museum-goers while they waited patiently in line on two of the hottest days in May.

It was magic watching people's faces, especially those of children, transform while we transported them to a world where lizards and frogs are life-size, where fairies waltz and make mischief, and where butterflies smile and dance.

Rehearsing for the event included dance improvisation to build a movement repertoire, endurance training and stretching, and character development. Our troupe was a dynamic mix of actors, dancers and singers who take direction very well, who capitalize on glitches and, above all, and relish feeding off the audience's reactions.

We danced from Saturday morning, starting with the Nature Fest parade that proceeded from Ottawa City Hall to the Museum, until 5 pm. On Sunday we danced from Noon until 10:30 pm at which point we ushered the audience outdoors to behold the light show. I was in the moment at all times and did not feel the time pass at all. In fact, I was a bit shocked at how quickly time flew and was sad to see it all come to an end after so much anticipation and hard work. Our next performance will be in June at Summer Solstice.

Congratulations to all the dancers, volunteers, staff and support staff who made this whole event a success! Take a bow!

REVIEW: Vincent Dance Theatre, Marc Boivin and Brian Webb

It was a busy week for dance in Ottawa. The Canada Dance festival is two months away, yet we found ourselves out two nights this week observing (what was billed as) some of the most provocative contemporary choreography.

Vincent Dance Theatre, NAC Studio, April 22 2010

The NAC Studio warmly welcomed Charlotte Vincent's Vincent Dance Theatre's production of Broken Chords. The show closes tonight and I would highly recommend attending a performance. The piece centers around the pain of "breaking up and breaking down" (NAC programme). Tongue-and-cheek humour is contrasted with the suffering of exclusion, regret and veiled emotion. The dancing is varied and flawless, and constantly defies gravity and constraint - including chairs 7 straight rows deep. The use and contrast of live musicians add a depth of emotion, dynamism and symbolism to the piece. If it's any measure of quality, my husband and I were able to sustain an hour long conversation about the piece after we had left the venue.

Marc Boivin, Arts Court, April 23, 2010

Marc Boivin's Impact was an intriguing abstract performance that used digital multimedia and dance to mirror the physical changes and vulnerability associated with aging. The innovative use of the dancer's lower leg to represent a child taking its first steps attracted the wonder of the audience, but was a one-off occurrence that missed an opportunity to grow. Overall, the dancing was polished, but somewhat uninspiring and repetitive.

Brian Webb, Arts Court, April 23, 2010

If this is the future of contemporary dance (in Ottawa), then we are doomed. To see such sub-par performances as that of Brian Webb and Marc Boivin move into Arts Court in the wake of Le Groupe's tragic exit is disheartening.  Webb's piece looked as though it had not been choreographed at all, save for some half-baked arm movements and body throws that were about as entertaining as watching a fish flop around on the floor. Titled The Effects of Sunlight Falling on Raw Concrete, it actually looked as though he was half-heartedly improvising a parody of Boivin's performance by using a similar combination of steps. At one point, he emerged from one of his sequenced body throws looking as though he had forgotten the choreography altogether. It would be generous to say that his performance was thoughtful enough to parody contemporary dance and culture by insulting the audience for paying to see his choreography, but I don't think he even put that much thought into it. He has another performance tonight.  Save your money because this installment of Dance Series 10 at Arts Court is not worth your time.

Dancing Away the Summer

After an audition this past Saturday, I have been chosen to perform with the Natasha Royka Dance Company, formerly known as PhOOM! (Potentially Haphazardous Objects in Motion). It is a professional contemporary dance company that has been featured in Ottawa area festivals and outdoor events. This is my first position (ha ha, great pun!) in a professional dance company and I am really  looking forward to working on my craft.

At the audition, I definitely felt like I danced with more confidence than any other audition I have had in the last 2 years. I feel validated and grateful that Natasha recognized my progress and determination enough to give me this opportunity to perform; indeed, she has been the facilitator of my growth this past year through her pilates and dance classes.

I am so excited to rehearse for 4 hours on a Saturday - I haven't had a regular rehearsal schedule since the LSESU Dance Society - and be pushed by such a talented, articulate dancer and choreographer.

Our first performance will be at the Canadian Museum of Nature's Naturefest where we will be enchanting the audience as costumed insects, May 22 and 23, 2010. Hope you can make it out!

I will keep you posted about future performances!

The picture above is after my performance, Surrationality, choreographed by Francesca Cookney, at the LSESU Dance Society in 2008 in London, UK.

Review: Rachid Ouramdane's (Loin....) @ NAC

Last night I witnessed my first performance where the audience booed a professional dance performance at Canada's capital arts institution, the National Arts Centre - and I can't say it wasn't entirely undeserved.

The 55-minute long programme addressed the issue of torture and its effect on families, memories and cultural identity. It travels from Algeria to Vietnam and America. From a purely information point of view, it was interesting. Artistically, it was stunted. The performance incorporated a lot of media but was really a mish-mash of half-baked ideas and soundbites: spoken word, interviews and soundtracks on film. The coolest feature was the rotating loudspeakers on stage. The problem is that the audience was there to see dance, not a movie. The lame, repetitive movements contained contrast but were not overly original or lead to progression. In fact, the constant picking up of microphones or clicking foot pedals was distracting, but not as distracting as the subtitles that accompanied the quick and monotone recitation of poetry.

The statement the choreographer, Rachid Ouramdane, was trying to make was not best executed, perhaps, with a single person on stage, either. Lines and character were not well-defined. One audience member commented that the accompanying film provided some momentary relief from the movement on stage with its backdrops of landscapes and faces, but in doing so detracted from the point of assembling at the Studio: to watch great contemporary dance, which this piece certainly was not, despite considerable investment by the French government and others.

Let Go

This is a CODE Motion Picture, directed by Elif Isikozlu available on the Vancouver 2010 website. It's gorgeous and assumes a rhythm of its own. It's also an innovative way to film dance.

Open House: Natasha Royka Movement Studio

My friend and dance instructor, Natasha Royka, recently rebranded her studio and is having an open house today from 4:00 pm until 6:00 pm at 11 Florence Street, near the corner of Bank and Florence in Downtown Ottawa. Bring cookies to share and any curiosities or passions about dance! If you can't make it and want to check out her classes and find out what she's all about, visit www.natasharoykamovementstudio.com.

2010 off on the Right Foot

This week saw me strike a new beginning with an old flame: contemporary dance. After discovering that my fall semester learning Flamenco, at the time, was not fulfilling the things I love about dance, I decided to join the Contemporary Dance Class at the recently re-branded Natasha Royka Movement Studio.

I have admired flameco from a distance for three years or so, to the point that I whimsically dreamed of flitting off to Valencia after my Master's to learn to dance in Sevilla. And what's not to admire? Those controlled passionate movements, sharpened poise, turbulent rhythms and that technique, oh that technique! I couldn't reconcile my excitment with my ensuing disappointment: it was hard to admit the physical limitations of my own body and my desire to master the movements faster than I actually could. In the process I gained a new physical self-awareness about control over movement. The physical limitations manifested themselves in my profound fear of  injuring my joints, especially my hips and knees. Every time I dropped my foot I was conscious about controlling the movement for self-preservation rather than aesthetic.

I rediscovered my love for dance and choreography while a member of the LSE Dance Society (I am in the red tights, pictured on the right, photo taken after our performance of Surrationality at the annual Dance Society Showcase). It was then I became more conscious about how much i loved moving through space and responding to music as a contemporary dancer. In my flamenco class, I found there wasn't enough movement through space in the class. Granted, it was an introductory flamenco class, so learning technique while somewhat stationary is a necessary part of learning. I find myself wondering whether I gave up too easily, but remembering  feeling defeated and bored after every painful class reminds me I made the right decision.

In addition to the liberating feeling of moving through space, physically and connecting with fellow dancers and music, I dance for exercise. I love challenging my body to stretch. I love pushing limits of my own strength. And I love, love, love using my body in new ways.

I am excited to grow as a dancer under the tutelage of Natasha Royka. I am definitely dusty and rusty from Christmas, flamenco and everything since LSE. But I am so happy to have gotten off on the right foot in 2010.

For anyone interested, Natasha Royka Movement Studio has an open house this weekend from 4-6 on Sunday, January 10th. She specializes in movement and pilates and her studio is located at 637 Florence Street, at the corner of Bank and Florence.

Tanja Liedtke

I attended a stellar performance of Tanja Liedtke's Construct last night at the NAC Studio. The choreography elicited a deep emotional response from the audience: I found myself laughing and crying and completely captivated by the dancers' ethereal movements. I especially appreciated the physical echoes in the choreography and playful ironic metaphors about building relationships, families and homes. The set and music gave an immediacty and tangibility to the production, as well.

Construct continues until tomorrow night at the NAC studio. Seating is General Admission, so arrive early to find a seat!