In this final episode, Sidi Larbi Cherkaoui describes his introduction to the world of oral traditional music and the place music occupies in his creative process. He also comments on his reaction to first seeing the work of Akram Khan, Pina Bausch and Dave St-Pierre, and to receiving the Alfred Toëpfer Stiftung Kairos prize in recognition of his artistic philosophy and quest for cultural dialogue.
In this second episode, Sidi Larbi Cherkaoui explains that his dance work Babel is a continuation of Foi, Myth, Zero Degrees and Sutra. He then comments on his collaborations with the monks of China’s Shaolin temple, Les Ballets de Monte Carlo, Cullberg Ballet, and The Royal Danish Ballet.
In this first of three episodes, Flemish-Moroccan choreographer-dancer Sidi Larbi Cherkaoui speaks about his late introduction to dance and how winning a Belgian dance contest put him on the path of Wim Vandekeybus and Alain Platel. While studying at PARTS, the school founded by Anne Teresa De Keersmaeker and Bernard Foccroulle, Larbi is exposed to the work of William Forsythe, Trisha Brown and Pina Bausch which combines sociological knowledge and dance. This approach resonates deeply with him. ...
In this third and last episode, Alain Platel explains how Gerard Mortier persuades him to resume his choreographic career with the creation of the controversial theatre work Wolfe based on Mozart for the Ruhrtriennale. This work is followed by the equally grand vsprs and pitié! with music by Fabrizio Cassol, and Out of Context - for Pina named production of the year by Ballet-Tanz. Alain tells us what moved him to add the words “for Pina” to the title. The interview ends with personal thoughts o...
In this second episode, Alain Platel elaborates on the international success of Bonjour Madame and reflects on the ephemeral nature of a theatre performance. He then explains that encounters with creative individuals throughout his career have inspired the development of new work. At the height of his career and following Moeder en Kind, La Tristeza Complice, Bernadetje, lets op Bach, and Allemaal Indiaan, Alain shocks the world of dance by announcing his retirement.
In this first of three episodes we meet Alain Platel, the trailblazing founder and director of Belgian contemporary dance company les ballets C de la B. Alain describes the period leading up to his initial career as a remedial educationalist, how a theatre hobby quickly turns into a full-time choreographic career and the founding of les ballets C de la B, and the creation of its breakthrough piece Bonjour Madame. He comments on the Flemish choreographic art of the period and its influence on con...
In this final episode, Cathy Levy talks about the growing diversity in the world of dance. Prompted, she shares anecdotes on high, challenging and hilarious moments in her 10-year career as NAC Dance Producer. She then comments on dance for youth and using dance to address controversial subjects. She concludes the interview with her wish list for the coming 10 years.
In this second episode, Cathy Levy describes her early love of dance which leads to dance studies at the University of Waterloo and Simon Fraser University. She outlines her path to becoming a dance producer, and defines the position and her mandate for presenting Canadian and international dance artists. She then comments on the value of cultivating relationships with and supporting artists and companies, both established and emerging.
In this first of three episodes, Cathy Levy, Dance Producer at Canada’s National Arts Centre, reflects on her goals and accomplishments since joining the NAC in 2000, and on the place dance occupies within the NAC. She describes ongoing efforts to build on the existing NAC audience base, answers the question of the day “Is ballet over?”, and comments on cinema broadcasts and dance on film.
In this final episode, Tedd Robinson talks about the period from 1994 to 2000 during which he becomes a practicing Zen monk, and his subsequent move to a farm in the Pontiac region of Quebec which he converts into a centre for creation, mentoring and site-specific performance and names La B.A.R.N. Tedd speaks of past and future projects and collaborations, including those with local b-boys, Mako Kawano, Louise Lecavalier and Margie Gillis. In closing, he pays homage to the National Arts Centre.
In this second episode, Tedd Robinson reflects on his six years as Artistic Director of Winnipeg’s Contemporary Dancers and on his decision to leave to company in 1990 to begin a new chapter in his artistic life in Ottawa where he becomes resident artist at Le Groupe Dance Lab. An unexpected opportunity kick-starts his solo career. Tedd speaks of this period of newfound independence as a dancer, choreographer, mentor and teacher.
In this first of three episodes, Tedd Robinson shares his gradual journey to becoming an artist working in dance and comments on the lasting influence the inspirational teacher of dance and mime Lindsay Kemp has had on his work. Following an audition with Rachel Browne in 1979, Tedd joins Winnipeg’s Contemporary Dancers as a dancer. In a span of a few years he launches his choreographic career and becomes the new artistic director of the company.
Straight Talk: What is the role of art as a vehicle of social change and Canada's barometer of acceptance? A panel discussion produced by the NAC's Dance department -- With Lloyd Newson, Founding Artistic Director, DV8 Physical Theatre; Dr. Brent Hawkes, Metropolitan Community Church, Toronto; and Joanne St. Lewis, Associate Professor, Faculty of Law, University of Ottawa.
In this final episode, Crystal Pite talks about the dual role of choreographer-performer, the creation process, her attachment to Canada’s National Arts Centre, and her enduring passion for the art of choreography. In closing, she touches on her upcoming commissions for Cullberg Ballet, the 2010 Cultural Olympiad in Vancouver, Nederlands Dans Theater and Cedar Lake Contemporary Ballet, and the presentations of Kidd Pivot at Sadler’s Wells (UK) and Jacob’s Pillow (USA).
In this third episode, Crystal Pite speaks of her collaborations with The National Ballet of Canada, Sweden’s Cullberg Ballet, BJM – Les Ballets Jazz de Montréal, and Vancouver-based composer Owen Belton. She explains the origin of the name Kidd Pivot and comments on the company’s work, opportunities and challenges.
In this second episode, Crystal Pite recalls her move to Germany in 1996 to join William Forsythe’s Frankfurt Ballet and the ensuing five years of growth as a performer and choreographer. This is also a time of exposure to the work of Pina Bausch, Wim Vandekeybus, Jan Fabre, Anne Teresa De Keersmaeker, Meg Stuart and Rui Horta. She leaves Germany in 2001 and realizes her dream of forming her own company, Kidd Pivot, where she is free to create and perform her own work.
In this first of four episodes, Crystal Pite, Vancouver-based dancer, choreographer and Artistic Director of Kidd Pivot and NAC Associate Dance Artist, tells us about her early years of training, performance and choreographing. She embarks on her professional career at 17 upon joining Ballet British Columbia as a dancer. Within a few years, she seizes the opportunity to choreograph for the company as well as for Ballet Jörgen and Alberta Ballet. She receives the Clifford E. Lee Award in 1995, th...
In this fourth of four podcasts with Karen Kain, the NAC's Cathy Levy and Gerald Morris talk to former prima ballerina Kain about The Sleeping Beauty, the role of personal interpretation in performing the classics, the arc of Kain's career, alternate career choices, her relationship with the NAC, and her favourite roles.
In this third of four podcasts with Karen Kain, the NAC's Cathy Levy and Gerald Morris talk to former prima ballerina Kain about the launch of her international career in Moscow in 1973 and her glorious years with partner Frank Augustyn. Karen Kain shares her memories of Rudolf Nureyev's decade with The National Ballet of Canada and the company's association with Mikhail Baryshnikov -- and her pivotal role in his 1974 defection to the West. She also discusses the restaging and refurbishment of t...
In this second of four podcasts with Karen Kain, the NAC's Cathy Levy and Gerald Morris talk to former prima ballerina Kain about her rebellious behavior at the National Ballet School, her first performances and early years with The National Ballet of Canada, and the role of talent, hard work, preparation, opportunity, and sheer luck in her career. Kain also discusses motivation and confidence (and the consequences of the lack of it) and the value of a male dance partner.
In this first of four podcasts with Karen Kain, the NAC's Cathy Levy and Gerald Morris talk to former prima ballerina Kain about her early years: growing up in Ancaster ON, the joys and challenges of her seven years at the National Ballet School, and her audition to join The National Ballet of Canada. Ms Kain also discusses what a dancer needs to succeed in the profession.
