Podcasts about ballet bc

Welcome to a new 4 part series - Competition Countdown. As dance competition season ramps up into full swing in most parts of North America, this series provides useful and usable content to help dancers, teachers, and parents get the most out of competition season. In part 3, you'll learn about rest and recovery during competitions. Knowing what to prioritize when it comes to recovery during competitions can make all the difference in terms of making it to the end of a competition week and still being able to perform at your best. We discuss active, passive and adjunctive types of recovery; and how recovery for competitions should differ from rest & recovery during the regular dance season.Don't forget to like, subscribe and add these episodes to your playlist for competition commutes so you don't miss an episode!Other podcast episodes mentioned:Episode 9: Rest and Recovery for DancersLearn more about Erika Mayall:Follow me on Instagram: @dancephysioerikaLearn more about me on my website: https://www.allegroperformance.comSign up for my newsletter: Click hereSend me an email: hello@allegroperformance.comI want to share Ballet BC's upcoming program, Zenith – happening March 6,7, and 8 in Vancouver.Featuring a world premiere by local Canadian choreographer Andrea Pena, the return of the masterful work PASSING from Johan Inger, and a new commission from Spanish choreographer Fernando Hernando Magadan – this program promises to be sensational.Use code LETSDANCE10 for 10% off your tickets. Available now at balletbc.com.

Welcome to a new 4 part series - Competition Countdown. As dance competition season ramps up into full swing in most parts of North America, this series provides useful and usable content to help dancers, teachers, and parents get the most out of competition season. In part 2, we dive into what to do when things go wrong. No one wants to get injured, especially not during competition season, but unfortunately injuries happen. In this episode, I discuss whether first aid/medical coverage should be a standard part of dance competitions and battles. You'll also learn about the *new* PEACE & LOVE protocol to follow for injury first aid.Don't forget to like, subscribe and add these episodes to your playlist for competition commutes so you don't miss an episode!Other podcast episodes mentioned:Episode 16: Dancer First Aid Learn more about Erika Mayall:Follow me on Instagram: @dancephysioerikaLearn more about me on my website: https://www.allegroperformance.comSign up for my newsletter: Click hereSend me an email: hello@allegroperformance.comI want to share Ballet BC's upcoming program, Zenith – happening March 6,7, and 8 in Vancouver.Featuring a world premiere by local Canadian choreographer Andrea Pena, the return of the masterful work PASSING from Johan Inger, and a new commission from Spanish choreographer Fernando Hernando Magadan – this program promises to be sensational.Use code LETSDANCE10 for 10% off your tickets. Available now at balletbc.com.

Welcome to a new 4 part series - Competition Countdown. As dance competition season ramps up into full swing in most parts of North America, this series provides useful and usable content to help dancers, teachers, and parents get the most out of competition season. In part 1, we cover preparing your body (and mind) for competition. I discuss tapering/de-loading in the lead up to competitions, the importance of a proper warm-up prior to taking the stage, and the benefits to using visualization/imagery as part of your competition preparation.Don't forget to like, subscribe and add these episodes to your playlist for competition commutes so you don't miss an episode!Other podcast episodes mentioned:Episode 6: Periodization in DanceEpisode 26: Tips for Tapering in DanceEpisode 17: RAMP Up Your Dance Warm-UpLearn more about Erika Mayall:Follow me on Instagram: @dancephysioerikaLearn more about me on my website: https://www.allegroperformance.comSign up for my newsletter: Click hereSend me an email: hello@allegroperformance.comI want to share Ballet BC's upcoming program, Zenith – happening March 6,7, and 8 in Vancouver.Featuring a world premiere by local Canadian choreographer Andrea Pena, the return of the masterful work PASSING from Johan Inger, and a new commission from Spanish choreographer Fernando Hernando Magadan – this program promises to be sensational.Use code LETSDANCE10 for 10% off your tickets. Available now at balletbc.com.

The end of the year is a busy time for arts administrators, packed with holiday campaigns and fundraising deadlines. With so much happening, it's easy to lose sight of the bigger picture. So today we're taking a moment to pause, reflect, and reconnect with our “why.”  In this episode, we revisit a popular Boot Camp 2024 conversation with CI President Priya Iyer Doshi and Terri Freeman, President of The Lewis Museum, about purpose-driven leadership and the resilience of our industry. Then, we ask arts administrators to reflect on their year and what's fueling their passion in 2025. It will leave you feeling grounded, inspired, and ready to tackle what's ahead. CI to Eye with Terri Freeman (1:30) - Live from Boot Camp 2024, CI President Priya Iyer Doshi sits down with Terri Freeman, President of The Lewis Museum. Together they discuss purpose-driven leadership, resilience, and navigating uncertainty with clarity. It's a timely conversation and a powerful reminder of the importance of our work. Ask The Industry (59:30) - Dan takes his microphone to the Boot Camp floor to ask arts administrators about their year in review. They share their excitements, challenges, and what's keeping them inspired as we roll into 2025. Listen for familiar voices from Acadiana Center for the Arts, ArtOps, ArtsWave, Ballet BC, Carnegie Hall, Chanhassen Dinner Theatres, Charleston Gaillard Center, Cincinnati Arts Association, Hopkins Center for the Arts, Houston Ballet, Huntington Theatre Company, Lincoln Center for the Performing Arts, Madison Symphony Orchestra, New York Theatre Workshop, Paper Mill Playhouse, Proctors Collaborative, Signature Theatre, Trinity Rep, University Musical Society, YoungArts, and ZACH Theatre.

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2024 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links: https://justineachambers.com/ https://www.katefranklin.ca/ About Justine: The anchors of Justine A. Chambers movement based practice are found in collaborative creation, close observation, and the idea of choreography as living archive. She is concerned with a choreography of the everyday; with the unintentional dances, as she describes them “that are already there.” She emerges from the Black American Diaspora, bi-racial and a dual citizen. Her practice extends from this continuum, and its entanglements with western contemporary dance and visual art practices. Her recent choreographic projects include: Zephyrs, Heirloom, And then this also, One hundred more, tailfeather, for all of us, it could have been like this, ten thousand times and one hundred more,  Family Dinner, Family Dinner: The Lexicon, Semi-precious: the faceting of a gemstone only appears complete and critical; Enters and Exits and COPY. Chambers' work has been hosted at: Libby Leshgold Gallery at ECUAD, Leonard and Bina Ellen Gallery at Concordia, Contemporary Art Gallery (Vancouver), Sophiensaele (Berlin), Burrard Arts Foundation, Nanaimo Art Gallery, Art Museum at University of Toronto, Morris and Helen Belkin Art Gallery, Cantor Fitzgerald Gallery, Mile Zero Dance Society, Festival of New Dance, Agora de la danse, Canada Dance Festival, Dance in Vancouver, Dance Saskatchewan, Dancing on the Edge Festival, New Dance Horizons, The Roundhouse Community Arts Centre, Vancouver Art Gallery and the Western Front. Chambers is a founding member of project bk, was artist in residence at artist run centre 221A (2017), a selected artist for the  Visiting Dance Artist Program at the National Arts Centre (2019-2020), one of three choreographer's in the Yulanda Faris Choreographer's Program (2017-2018), and associate artist and artist in residence to The Dance Centre (2015-2017), Justine has collaborated on projects with: Digital video artist Josh Hite: COPY: a movement based installation, Incoming, Green Boot Print (The Roundhouse Community Arts Centre, Code Lab and 350.org), Choreography Walk (2015: Vancouver, 2019: Hong Kong, 2019: Vancouver). Choreographer and dancer Laurie Young: One hundred more Visual artist Natalie Purschwitz and sound artist Anju Singh: Co-facilitation of Trackings and Trappings – Summer Institute at Plug In Institute of Contemporary Art Sound artist Elisa Ferrari: EMF Movement Studies.  Visual artist Mike Bourscheid: Idealverein Dance Artist Alexa Solveig Mardon and scholar Peter Dickinson: Our Present Dance Histories Visual artist Evann Siebens:  Homemade Again. Dance artist Claudia Fancello: Light Was The Night: Night Shifting. Musician Ben Brown:  We're Making a Band Visual Artist Brendan Fernandes: The Working Move (The Western Front, The Stedelijk Museum) Contemporary Gamelan Composer Michael Tenzer: Sphinx (Tour of Bali 2013) Visual artist Jen Weih: Stack of Moves (Wrong Waves Festival 2013) Visual artists Marilou Lemmens and Richard Ibghy: Is there anything at all left to do be done at all (Trinity Square Video) Dance artist Deanna Peters: One + the Other (The Cultch and New Dance Horizons) Chambers, Sadira Rodrigues and battery opera's Su Feh Lee co-facilitate the monthly forum The Talking Thinking Dancing Body; a conversation about aesthetics, context and artistic processes. As a dancer, she has worked with a number of choreographers both nationally and abroad. Including: Kate Franklin, ame henderson, sasha ivanochko, battery opera, adelheid dance projects, Company 605, Tara Cheyenne Performance, Oded Graf and Yossi Berg, Wen Wei Dance, Mascall Dance. Chambers teaches at The School for Contemporary Arts at Simon Fraser University, Working Class, Toronto Community Love-In, Modus Operandi Training Program and Ballet BC. Justine is currently engaged as an artistic monitor for the work of Mardon + Mitsuhashi, and Amanda Acorn. Chambers is Max Tyler-Hite's mother.   About Kate:   Kate Franklin was born in North Bay, Ontario. She started dancing at age 5 and got super serious about it at age 10. When she was 13, she left home to attend Quinte Ballet School of Canada in Belleville, Ontario, where she undertook her professional training for the next five years. Now an independent contemporary dance artist, she has spent the past 20 or so years in Toronto/Tkaronto and so-called Vancouver (on the unceded Indigenous territories of the Musqueam, Squamish and Tsleil-Waututh First Nations) wearing almost every "hat" a person can wear in the community, (performer, choreographer, administrator, volunteer, producer, presenter, educator, outside eye, probably a couple other things). She works regularly for local artists Company 605, Justine A. Chambers and Tara Cheyenne Performance, amongst others, as well as being in her eighth season as Associate Artistic Director of four-year post-secondary contemporary dance program Modus Operandi, where she has the responsibility and privilege of teaching a small, dedicated, passionate group of younger dance artists.  Kate has taught Yoga and Pilates mat work in the past.    About Tara:   Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.

Welcome back to The Dance Centre Podcast. This month Claire talks to dance artist, choreographer and Co-Artistic Director of Dance//Novella, Racheal Prince. Join them as they discuss Racheal's journey through dance including her time with Ballet BC, her work teaching and guiding young dance artists, the creation of Dance//Novella and the inspiration behind their new work, Night is the Mother.   See Night is the Mother at Scotiabank Dance Centre April 25 at 12 noon: https://thedancecentre.ca/event/discover-dance-dance-novella/ https://www.dancenovella.com/  

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2024 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links:   Raven Spirit Dance: https://ravenspiritdance.com/   About Starr:   Starr Muranko is dancer/choreographer, Mother and Co-Artistic Director with ​Raven Spirit Dance. As a choreographer she is most interested in the stories that we carry within our bodies and Ancestral connections to land that transcend time and space. Her work has been shared locally and nationally including the Dance Centre, Talking Stick Festival, Coastal Dance Festival, Dancing on the Edge, Native Earth Performing Arts, Weesageechak Begins to Dance, Impact Festival and InFringing Dance Festival.  Featured works include Chapter 21, Spine of the Mother and before7after as well as recent collaborative work Confluence and her current research for a new piece Tracing Bones.    A proud company dancer with the Dancers of Damelahamid since 2005, she has toured across Canada and internationally and trained under the guidance and mentorship of the late Elder Margaret Harris. She is currently Artist-in-Residence at Ballet BC alongside colleague and longtime collaborator Margaret Grenier. Starr has facilitated workshops through ArtsStarts, Vancouver Aboriginal Friendship Centre, Native Education College and Vines Art Festival and holds a BFA in Dance from SFU's School for the Contemporary Arts. She honours and celebrates her mixed Ancestry of Omushkegowuk Cree (Moose Cree First Nation – Treaty 9), French and German in all of her work.  www.ravenspiritdance.com   About Tara:   Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.

On this week's show, we spoke with Ashley Werhun, CEO & Co-Founder @ Mentorly.  Ashley Werhun is the CEO and Co-Founder of Mentorly.com, and is on a mission to make mentorship accessible, and reliable to all. Mentorly is a cloud-based mentorship solution for businesses and organizations looking to invest in their people and help them soar. Ashley leads all things growth: B2B sales, marketing, positioning, fundraising and long-term vision. With many hats, Ashley is a leader who puts culture first. She strives to build an organization where each team member thrives because they are trusted and have the space to be their authentic selves. Prior to co-founding Mentorly, Ashley spent 10+ years touring the world performing with BJM Danse, Ballet BC and Trey McIntyre Project. She also was a development liaison, where she was the bridge between donors and artists. It was on tour when the large mentorship gap in the creative market became apparent and she started her journey into building a start-up.   On the show, we spoke about:  The path from elite level ballerina to startup entrepreneur Lessons from performance art world  What does it take to have a successful mentor- mentee relationship The Mentorly business model and growth strategy  Helping organizations with their people science function   Subscribe | iTunes | Google Play |Spotify | YouTube | Stitcher |   

This episode of NAC Dance with Cathy Levy features a fascinating conversation with Wen Wei Wang, Artistic Director of Ballet Edmonton, choreographer, and NAC Associate Dance Artist. Born and raised in Xi'an, China, Wen Wei dedicated his life to dance at a very early age upon seeing the famous Chinese ballet The White-Haired Girl. He trained at the Langzhou Army School and the prestigious People's Liberation Army Academy of Art. A five-month cultural exchange in Vancouver led him to return for good a few years later with the help and support of his mentor and friend Grant Strate. The following decades saw him perform with Judith Marcuse Dance Company, Les Grands Ballets Canadiens and Ballet BC; create his own company Wen Wei Dance; and accept the artistic leadership of Ballet Edmonton.

In this episode of The Dance Centre Podcast, host Claire French talks with dance artist and choreographer Kirsten Wicklund about highlights of her storied career including her time with Ballet BC, her current position at Opera Ballet Vlaanderen and her experience on So You Think You Can Dance Canada.    https://kirstenwicklund.com/

Show notes below:   Talking Shit with Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2021 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links:    Justine A Chambers: https://justineachambers.com/about/   Alison Denham: https://thepilatescenter.com/2019/06/tpc-grad-chats-alison-denham/   https://www.fullcirclestudio.com/teachers-trainers   https://www.distilledpilates.com/our-people   Zahra Shahab: https://zahrashahab.ca/   Company 605: http://company605.ca/   First interview with Justine A Chambers April 26th 2020 (Episode 13): https://taracheyenne.podbean.com/e/episode-13-interview-with-dance-artist-justine-a-chambers-creativity-in-the-time-of-covid-19/   Second interview with Justine A Chambers July 18th 2020 (Episode 19):  https://taracheyenne.podbean.com/e/episode-20-new-encore-interview-with-justine-a-chambers-dance-artistthinkeractivator/   About Justine:  Justine A. Chambers is a choreographer, dancer and educator living and working on the traditional and ancestral Coast Salish territories of the Sḵwx̱wú7mesh, Musqueam and Tsleil-Waututh Nations. Her movement based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances that are already there – the social choreographies present in the everyday. She is Max Tyler-Hite's mother.   Longer bio: The anchors of Justine A. Chambers movement based practice are found in collaborative creation, close observation, and the idea of choreography as living archive. She is concerned with a choreography of the everyday; with the unintentional dances, as she describes them “that are already there.” Her recent choreographic projects include: and then also this, One hundred more, tailfeather, for all of us, it could have been like this, ten thousand times and one hundred more,  Family Dinner, Family Dinner: The Lexicon, Semi-precious: the faceting of a gemstone only appears complete and critical; Enters and Exits and COPY. Chambers' work has been hosted at: Contemporary Art Gallery Vancouver, Nanaimo Art Gallery, Art Museum at University of Toronto, Morris and Helen Belkin Art Gallery, Cantor Fitzgerald Gallery, Mile Zero Dance Society, Festival of New Dance, Agora de la danse, Canada Dance Festival, Dance in Vancouver, Dance Saskatchewan, Dancing on the Edge Festival, New Dance Horizons, The Roundhouse Community Arts Centre, Vancouver Art Gallery and the Western Front. Chambers is a founding member of project bk, artist in residence at artist run centre 221A (2017), a selected artist for the  Visiting Dance Artist Program at the National Arts Centre(2019-2020), recipient of the Lola Award in 2018, one of three choreographer's in the Yulanda Faris Choreographer's Program (2017-2018), associate artist and artist in residence to The Dance Centre (2015-2017), Justine has collaborated on projects with: Digital video artist Josh Hite: COPY: a movement based installation, Incoming, Green Boot Print (The Roundhouse Community Arts Centre, Code Lab and 350.org), Choreography Walk (2015: Vancouver, 2019: Hong Kong, 2019: Vancouver). Choreographer and dancer Laurie Young: One hundred more Visual artist Natalie Purschwitz and sound artist Anju Singh: Co-facilitation of Trackings and Trappings – Summer Institute at Plug In Institute of Contemporary Art Sound artist Elisa Ferrari: EMF Movement Studies.  Dance Artist Alexa Solveig Mardon and scholar Peter Dickinson: Our Present Dance Histories Visual artist Evann Siebens:  Homemade Again. Dance artist Claudia Fancello: Light Was The Night: Night Shifting. Musician Ben Brown:  We're Making a Band Visual Artist Brendan Fernandes: The Working Move (The Western Front, The Stedelijk Museum) Contemporary Gamelan Composer Michael Tenzer: Sphinx (Tour of Bali 2013) Visual artist Jen Weih: Stack of Moves (Wrong Waves Festival 2013) Visual artists Marilou Lemmens and Richard Ibghy: Is there anything at all left to do be done at all (Trinity Square Video) Dance artist Deanna Peters: One + the Other (The Cultch and New Dance Horizons) From 20212-2018, Chambers, Sadira Rodrigues and battery opera's Su Feh Lee co-facilitated the monthly forum The Talking Thinking Dancing Body; a conversation about aesthetics, context and artistic processes. As a dancer, she has worked with a number of choreographers both nationally and abroad. Including: ame henderson, sasha ivanochko, battery opera, adelheid dance projects, Company 605, Tara Cheyenne Performance, Oded Graf and Yossi Berg, Wen Wei Dance, Mascall Dance. Chambers teaches contemporary dance technique at Arts Umbrella, Working Class, Toronto Community Love-In, Modus Operandi Training Program and Ballet BC. Justine is currently engaged as an artistic monitor for the work of Mardon + Mitsuhashi, and Amanda Acorn. Chambers is Max Tyler-Hite's mother.See More from Justine Chambers   About Tara: Tara Cheyenne Friedenberg is an award winning creator, performer, choreographer, director and writer. Artistic Director of Tara Cheyenne Performance, she is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level"(The Georgia Straight). Tara is celebrated nationally and internationally for her unique and dynamic hybrid of dance, comedy and theatre. The string of celebrated full-length solo shows to her credit includes bANGER, Goggles, Porno Death Cult, and I can't remember the word for I can't remember, and she partners regularly on multidisciplinary collaborations, commissions and boundary-bending ensemble creations. When she isn't creating innovative movement for theatre, Tara performs around the world- highlights include DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, and High Performance Rodeo/Calgary. Recent works include The Body Project (premiering 2020/21 season) The River with dance artist Miriam Colvin and artist and activist Molly Wickham (premiering 2021 in Wet'suwet'en Territory), empty.swimming.pool with Italian dance/performance artist Silvia Gribaudi, (Castiglioncello, Bassano, Victoria, B.C. and Vancouver, B.C.), how to be (Vancouver, B.C.) , and I can't remember the word for I can't remember (currently touring). Tara lives on the unceded and traditional territory of the xʷməθkʷəy̓əm (Musqueam), səlil̓wətaɁɬ (Tsleil-Waututh) and Sḵwx̱wú7mesh Úxwumixw (Squamish Nation)/East Vancouver with her partner composer Marc Stewart.  

How do you convince risk adverse people to fund your film? Some filmmakers go as far as actually shooting a short to use as a proof of concept, In this episode, Leslie and Veronika talk about the best ways to advance your career in film like choosing between big film festivals vs. targeted film festivals, how to work with kids on set, finding the right collaborators, putting story and characters first, how to utilize your editor, the necessity of a script supervisor and much more.Veronika Kurz is an award-winning director whose work spans a wide variety of genres, and has screened at festivals worldwide. With a background in technical film production, Veronika delivers story-driven, cinematic products with a feature film feel.In 2017, she successfully pitched her short comedy, 20 MINUTES TO LIFE, at that year's Whistler Film Festival, winning funding from the MPPIA Short Film Award.The film went on to win Best Short Film at the LA Femme Film Festival and 1st Place Comedy Short Shorts at Just For Laughs NorthWest.20 MINUTES TO LIFE is now available to watch in Canada on Super Channel Fuse.Her dance film, FLOW (starring Ballet BC dancer Livona Ellis) premiered at the 2019 Sedona International Film Festival to two sold-out audiences and went on to play at several international festivals.Veronika has a passion for creative storytelling and loves working collaboratively to bring great ideas to life. Through her work, Veronika aims to inspire, entertain, and move her audiences.

Show notes below: Talking Shit with Tara Cheyenne is a Tara Cheyenne Performance Productionwww.taracheyenne.comInstagram: @TaraCheyenneTCP  /  FB: Tara Cheyenne PerformancePodcast produced, edited and music by Marc Stewart Musicwww.marcstewartmusic.com  © 2020 Tara Cheyenne Performance Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify. Donate! To keep this podcast ad-free please go to: https://www.canadahelps.org/en/dn/13386 Show Notes:Links:Ziyian Kwan's shop MORROW: http://dumbinstrumentdance.com/category/morrow/Kate’s training, collaborators and work: Quinte Ballet School Of Canadahttps://quinteballetschool.com/Ballet BC:https://balletbc.com/Emily Molnar:https://www.ndt.nl/en/team/emily-molnar/Toronto Dance Theatre:https://tdt.org/At The Wrecking Ball:https://atthewreckingball.wordpress.com/about/KAEJA Dance: https://www.kaeja.org/Matjash Mrozewski:https://dancemadeincanada.ca/artists/matjash-mrozewski/Justine A. Chambers:https://justineachambers.comKate Holden:http://kateholden.ca/Dance_Artist.htmlCompany 605:http://company605.ca/Tara Cheyenne Performance:https://www.taracheyenne.com/Modus Operandi:https://www.outinnerspace.ca/mo/Marc Boivin:https://www.edcm.ca/en/school/team/marc-boivinValerie Calam:http://www.companyviceversa.com/Gold Saucer Studio:http://remysiu.com/gold-saucer-studio-ongoingTara’s training, collaborators and mentors:Royal Winnipeg Ballet:https://www.rwb.org/school/Simon Fraser University:https://www.sfu.ca/sca/programs/dance.htmlUniversity of Calgary:https://www.ucalgary.ca/future-students/undergraduate/explore-programs/dramaGreen Thumb Theatre:https://www.greenthumb.bc.ca/Radix Theatre:http://www.radixtheatre.org/Denise Clarke:https://www.oyr.org/the-company/the-ensemble/denise-clarkeNigel Charnock:https://www.theguardian.com/stage/2012/aug/07/nigel-charnock"Highgate":https://www.taracheyenne.com/highgate"Happier With Gretchen Rubin" Ep. 251:https://gretchenrubin.com/podcast-episode/251-try-the-eight-stones-method/Obsessions!Eve - Who's That Girl? (Official Video)https://www.youtube.com/watch?v=8N9PL3Iz3xcBrooklyn Nine-Nine:https://www.netflix.com/ca/title/70281562?source=35RuPaul’s Drag Race:https://www.netflix.com/ca/title/70187741?source=35Crip Camp:https://www.netflix.com/ca/title/81001496Animal Crossing:https://animal-crossing.com/Hannah Gadsby:https://hannahgadsby.com.au/https://www.netflix.com/ca/title/81054700Patton Oswalt:https://pattonoswalt.com/https://www.netflix.com/ca/title/81206879The Office:https://www.netflix.com/ca/title/70136120?source=35Tara’s "Laura Lockdown" Videos:https://www.instagram.com/taracheyennetcp/channel/Spike Ball:https://spikeball.com/Hannah’s Film Project:https://ent-nts.ca/en/blog-art-apart-ordinary-orchestraAbout:Kate FranklinAward-winning dance artist Kate Franklin spent the first decade of her career in Toronto, where she was active as a performer, producer, choreographer, teacher, rehearsal director, administrator, volunteer and mentor.  Living in Vancouver since 2012, she is Associate Director of Modus Operandi, and teaches professional level contemporary dance at Working Class and Ballet BC. She works as a collaborator/dancer with many independent choreographers and companies such as Tara Cheyenne Performance, Justine A. Chambers, Company 605, Jamie Robinson and Ne.Sans (Idan Cohen). She returns to Toronto regularly to continue her work with Valerie Calam/Company Vice Versa. Kate’s own choreography has been shown most recently at Boombox and Accelerate 3.0. Sarah Huttoninstagram is @sarah_huttonSarah Hutton was born and raised in Hanna, Alberta where she discovered her love for movement at the age of five. Sarah continued her early dance education throughout southern Alberta in jazz, tap, and hip-hop and began to choreograph on herself and other students. She moved to Vancouver in 2013 to continue her training, joining the Source Dance Company under the direction of Joanne Pesusich. In 2016, she was chosen for a scholarship at EDAM Dance under Peter Bingham, where she studied contact improvisation. Her new curiosities led her to Modus Operandi where she graduated in 2020 under the direction of Tiffany Tregarthen, David Raymond, and Kate Franklin. She has performed for creators Paras Terezakis (Kinesis Dance), Shay Kuebler (Radical System Art), Vancouver Fashion Week, Julie-anne Saroyan (Dances for a Small Stage), Kyle Toy, Heather Dotto, and Joanne Pesusich. She is also currently an apprentice with Shay Kuebler (Radical System Art). Sarah continues to explore her own choreographic practice. Throughout the past four years, her choreography has been performed by the training program The Source Dance Company. Most recently her work has been performed at The Dance Centre’s Christmas Party in 2019.  Hannah MeyersDriven by rhythms, patterns, colours and a heavy dose of romanticism. Likes to mismatch materials, modes of performance, theories, and histories. Recently, this has meant using found sound as a dialogue for a short video installation (Ordinary Orchestra, NTS Art Apart), board games as a tool to critique colonialism and capitalism (New Societies, Re:Current Theatre), poetry with exercise (The Albertine Workout, SFU), tap dancing through adaptations of adaptations (notnothamletmachine, THEATRECORPS), and rice crispy cereal on vanilla ice cream. A co-founder of Lo-Fi Spectacle Club; a nascent performing arts collective as idealistic as they come. A pandemic graduate (Simon Fraser University Bachelor of Fine Arts Honours in Theatre Performance). Walks and works on the stolen ancestral lands of the Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations.  Walks and works on these lands as a queer, white, cisgender woman. Walks and works with contradiction. Mismatching and subverting form is both a proclivity and a political assertion.  Jaqueline Ritter Jaqueline Ritter is a graduate of SFU’s BFA program in Contemporary Dance. Having started ballet classes at the age of three, Jaqueline has committed her entire life to exploring ways to express herself through movement. During her time at SFU, Jaqueline has had the privilege of training under and performing in works by Judith Garay, Rob Kitsos, Chick Snipper, Vanessa Goodman, Yossi Berg and Oded Graf Dance Theatre (Israel), and many others. Jaqueline will soon be launching a choreographic career of her own, with an interest in creating pieces that appeal to her audiences’ emotional and kinesthetic senses of empathy. About Tara:Tara Cheyenne Friedenberg is an award winning creator, performer, choreographer, director and writer. Artistic Director of Tara Cheyenne Performance, she is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level"(The Georgia Straight).Tara is celebrated nationally and internationally for her unique and dynamic hybrid of dance, comedy and theatre. The string of celebrated full-length solo shows to her credit includes bANGER, Goggles, Porno Death Cult, and I can’t remember the word for I can’t remember, and she partners regularly on multidisciplinary collaborations, commissions and boundary-bending ensemble creations. When she isn’t creating innovative movement for theatre, Tara performs around the world- highlights include DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, and High Performance Rodeo/Calgary. Recent works include The Body Project (premiering 2020/21 season) The River with dance artist Miriam Colvin and artist and activist Molly Wickham (premiering 2021 in Wet'suwet'en Territory), empty.swimming.pool with Italian dance/performance artist Silvia Gribaudi, (Castiglioncello, Bassano, Victoria, B.C. and Vancouver, B.C.), how to be (Vancouver, B.C.) , and I can’t remember the word for I can’t remember (currently touring). Tara lives on the unceded and traditional territory of the xʷməθkʷəy̓əm (Musqueam), səlil̓wətaɁɬ (Tsleil-Waututh) and Sḵwx̱wú7mesh Úxwumixw (Squamish Nation)/East Vancouver with her partner composer Marc Stewart.

Show notes below: Talking Shit with Tara Cheyenne is a Tara Cheyenne Performance Productionwww.taracheyenne.comInstagram: @TaraCheyenneTCP  /  FB: Tara Cheyenne PerformancePodcast produced, edited and music by Marc Stewart Musicwww.marcstewartmusic.com  © 2020 Tara Cheyenne Performance Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts/iTunes and Spotify Donate! To keep this podcast ad-free please go to: https://www.canadahelps.org/en/dn/13386Show Notes:NEW Encore Interview with Justine A Chambers, dance-artist/thinker/activator. I sit down again with the amazing Justine  A Chambers, 4 months into the pandemic and 5 weeks into the overdue (by centuries) awakening to the necessity for racial justice, to check in on how she is doing as my friend and as a black woman, what she is thinking about, and hear her many great ideas and razor sharp insight.  Links: First interview with Justine A Chambers April 26th 2020 (Episode 13):https://taracheyenne.podbean.com/e/episode-13-interview-with-dance-artist-justine-a-chambers-creativity-in-the-time-of-covid-19/ Justine A. Chambers is a dance artist living and working on the unceded Coast Salish territories of the Squamish, Musqueam and Tsleil-Waututh Nations. Her movement based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances that are already there –the social choreographies present in the everyday. She is Max Tyler-Hite’s mother. Longer bio:The anchors of Justine A. Chambers movement based practice are found in collaborative creation, close observation, and the idea of choreography as living archive. She is concerned with a choreography of the everyday; with the unintentional dances, as she describes them “that are already there.” Her recent choreographic projects include: and then also this, One hundred more, tailfeather, for all of us, it could have been like this, ten thousand times and one hundred more,  Family Dinner, Family Dinner: The Lexicon, Semi-precious: the faceting of a gemstone only appears complete and critical; Enters and Exits and COPY.Chambers’ work has been hosted at: Contemporary Art Gallery Vancouver, Nanaimo Art Gallery, Art Museum at University of Toronto, Morris and Helen Belkin Art Gallery, Cantor Fitzgerald Gallery, Mile Zero Dance Society, Festival of New Dance, Agora de la danse, Canada Dance Festival, Dance in Vancouver, Dance Saskatchewan, Dancing on the Edge Festival, New Dance Horizons, The Roundhouse Community Arts Centre, Vancouver Art Gallery and the Western Front.Chambers is a founding member of project bk, artist in residence at artist run centre 221A (2017), a selected artist for the  Visiting Dance Artist Program at the National Arts Centre(2019-2020), recipient of the Lola Award in 2018, one of three choreographer’s in the Yulanda Faris Choreographer’s Program (2017-2018), associate artist and artist in residence to The Dance Centre (2015-2017),Justine has collaborated on projects with:Digital video artist Josh Hite: COPY: a movement based installation, Incoming, Green Boot Print (The Roundhouse Community Arts Centre, Code Lab and 350.org), Choreography Walk (2015: Vancouver, 2019: Hong Kong, 2019: Vancouver).Choreographer and dancer Laurie Young: One hundred moreVisual artist Natalie Purschwitz and sound artist Anju Singh: Co-facilitation of Trackings and Trappings – Summer Institute at Plug In Institute of Contemporary ArtSound artist Elisa Ferrari: EMF Movement Studies. Dance Artist Alexa Solveig Mardon and scholar Peter Dickinson: Our Present Dance HistoriesVisual artist Evann Siebens:  Homemade Again.Dance artist Claudia Fancello: Light Was The Night: Night Shifting.Musician Ben Brown:  We’re Making a BandVisual Artist Brendan Fernandes: The Working Move (The Western Front, The Stedelijk Museum)Contemporary Gamelan Composer Michael Tenzer: Sphinx (Tour of Bali 2013)Visual artist Jen Weih: Stack of Moves (Wrong Waves Festival 2013)Visual artists Marilou Lemmens and Richard Ibghy: Is there anything at all left to do be done at all (Trinity Square Video)Dance artist Deanna Peters: One + the Other (The Cultch and New Dance Horizons)From 20212-2018, Chambers, Sadira Rodrigues and battery opera’s Su Feh Lee co-facilitated the monthly forum The Talking Thinking Dancing Body; a conversation about aesthetics, context and artistic processes.As a dancer, she has worked with a number of choreographers both nationally and abroad. Including: ame henderson, sasha ivanochko, battery opera, adelheid dance projects, Company 605, Tara Cheyenne Performance, Oded Graf and Yossi Berg, Wen Wei Dance, Mascall Dance.Chambers teaches contemporary dance technique at Arts Umbrella, Working Class, Toronto Community Love-In, Modus Operandi Training Program and Ballet BC. Justine is currently engaged as an artistic monitor for the work of Mardon + Mitsuhashi, and Amanda Acorn.Chambers is Max Tyler-Hite’s mother.See More from Justine Chambers About Tara:Tara Cheyenne Friedenberg is an award winning creator, performer, choreographer, director and writer. Artistic Director of Tara Cheyenne Performance, she is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level"(The Georgia Straight).Tara is celebrated nationally and internationally for her unique and dynamic hybrid of dance, comedy and theatre. The string of celebrated full-length solo shows to her credit includes bANGER, Goggles, Porno Death Cult, and I can’t remember the word for I can’t remember, and she partners regularly on multidisciplinary collaborations, commissions and boundary-bending ensemble creations. When she isn’t creating innovative movement for theatre, Tara performs around the world- highlights include DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, and High Performance Rodeo/Calgary. Recent works include The Body Project (premiering 2020/21 season) The River with dance artist Miriam Colvin and artist and activist Molly Wickham (premiering 2021 in Wet'suwet'en Territory), empty.swimming.pool with Italian dance/performance artist Silvia Gribaudi, (Castiglioncello, Bassano, Victoria, B.C. and Vancouver, B.C.), how to be (Vancouver, B.C.) , and I can’t remember the word for I can’t remember (currently touring). Tara lives on the unceded and traditional territory of the xʷməθkʷəy̓əm (Musqueam), səlil̓wətaɁɬ (Tsleil-Waututh) and Sḵwx̱wú7mesh Úxwumixw (Squamish Nation)/East Vancouver with her partner composer Marc Stewart.

Show notes below: Talking Shit with Tara Cheyenne is a Tara Cheyenne Performance Productionwww.taracheyenne.comInstagram: @TaraCheyenneTCP  /  FB: Tara Cheyenne PerformancePodcast produced, edited and music by Marc Stewartwww.marcstewartmusic.com  © 2020 Tara Cheyenne Performance Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts/iTunes Donate! To keep this podcast ad-free please go to: https://www.canadahelps.org/en/dn/13386 Show Notes and links: Justine A. Chambers is a dance artist living and working on the unceded Coast Salish territories of the Squamish, Musqueam and Tsleil-Waututh Nations. Her movement based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances that are already there –the social choreographies present in the everyday. She is Max Tyler-Hite’s mother. Longer bio:The anchors of Justine A. Chambers movement based practice are found in collaborative creation, close observation, and the idea of choreography as living archive. She is concerned with a choreography of the everyday; with the unintentional dances, as she describes them “that are already there.” Her recent choreographic projects include: and then also this, One hundred more, tailfeather, for all of us, it could have been like this, ten thousand times and one hundred more,  Family Dinner, Family Dinner: The Lexicon, Semi-precious: the faceting of a gemstone only appears complete and critical; Enters and Exits and COPY.Chambers’ work has been hosted at: Contemporary Art Gallery Vancouver, Nanaimo Art Gallery, Art Museum at University of Toronto, Morris and Helen Belkin Art Gallery, Cantor Fitzgerald Gallery, Mile Zero Dance Society, Festival of New Dance, Agora de la danse, Canada Dance Festival, Dance in Vancouver, Dance Saskatchewan, Dancing on the Edge Festival, New Dance Horizons, The Roundhouse Community Arts Centre, Vancouver Art Gallery and the Western Front.Chambers is a founding member of project bk, artist in residence at artist run centre 221A (2017), a selected artist for the  Visiting Dance Artist Program at the National Arts Centre(2019-2020), recipient of the Lola Award in 2018, one of three choreographer’s in the Yulanda Faris Choreographer’s Program (2017-2018), associate artist and artist in residence to The Dance Centre (2015-2017),Justine has collaborated on projects with:Digital video artist Josh Hite: COPY: a movement based installation, Incoming, Green Boot Print (The Roundhouse Community Arts Centre, Code Lab and 350.org), Choreography Walk (2015: Vancouver, 2019: Hong Kong, 2019: Vancouver).Choreographer and dancer Laurie Young: One hundred moreVisual artist Natalie Purschwitz and sound artist Anju Singh: Co-facilitation of Trackings and Trappings – Summer Institute at Plug In Institute of Contemporary ArtSound artist Elisa Ferrari: EMF Movement Studies. Dance Artist Alexa Solveig Mardon and scholar Peter Dickinson: Our Present Dance HistoriesVisual artist Evann Siebens:  Homemade Again.Dance artist Claudia Fancello: Light Was The Night: Night Shifting.Musician Ben Brown:  We’re Making a BandVisual Artist Brendan Fernandes: The Working Move (The Western Front, The Stedelijk Museum)Contemporary Gamelan Composer Michael Tenzer: Sphinx (Tour of Bali 2013)Visual artist Jen Weih: Stack of Moves (Wrong Waves Festival 2013)Visual artists Marilou Lemmens and Richard Ibghy: Is there anything at all left to do be done at all (Trinity Square Video)Dance artist Deanna Peters: One + the Other (The Cultch and New Dance Horizons)From 20212-2018, Chambers, Sadira Rodrigues and battery opera’s Su Feh Lee co-facilitated the monthly forum The Talking Thinking Dancing Body; a conversation about aesthetics, context and artistic processes.As a dancer, she has worked with a number of choreographers both nationally and abroad. Including: ame henderson, sasha ivanochko, battery opera, adelheid dance projects, Company 605, Tara Cheyenne Performance, Oded Graf and Yossi Berg, Wen Wei Dance, Mascall Dance.Chambers teaches contemporary dance technique at Arts Umbrella, Working Class, Toronto Community Love-In, Modus Operandi Training Program and Ballet BC. Justine is currently engaged as an artistic monitor for the work of Mardon + Mitsuhashi, and Amanda Acorn.Chambers is Max Tyler-Hite’s mother.See More from Justine Chambers The workouts mentioned by Justine:doyogawithme.com Seven Minute Work Out:https://www.youtube.com/watch?v=U6etLKswjq8&t=9s -   One Hundred More JUSTINE A. CHAMBERS + LAURIE YOUNGhttps://agoradanse.com/en/event/one-hundred-more/ Article on “crisis schooling” mentioned by Tara: https://www.heatheranneworld.com/post/homeschooling-is-not-the-same-as-crisis-schooling-advice-during-coronavirus-covid-19-shut-downs Link to Justine’s Family Dinner: https://justineachambers.com/family-dinner-the-lexicon/   About Tara:Tara Cheyenne Friedenberg is an award winning creator, performer, choreographer, director and writer. Artistic Director of Tara Cheyenne Performance, she is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level"(The Georgia Straight).Tara is celebrated nationally and internationally for her unique and dynamic hybrid of dance, comedy and theatre. The string of celebrated full-length solo shows to her credit includes bANGER, Goggles, Porno Death Cult, and I can’t remember the word for I can’t remember, and she partners regularly on multidisciplinary collaborations, commissions and boundary-bending ensemble creations. When she isn’t creating innovative movement for theatre, Tara performs around the world- highlights include DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, and High Performance Rodeo/Calgary. Recent works include The Body Project (premiering 2020/21 season) The River with dance artist Miriam Colvin and artist and activist Molly Wickham (premiering 2021 in Wet'suwet'en Territory), empty.swimming.pool with Italian dance/performance artist Silvia Gribaudi, (Castiglioncello, Bassano, Victoria, B.C. and Vancouver, B.C.), how to be (Vancouver, B.C.) , and I can’t remember the word for I can’t remember (currently touring). Tara lives on the unceded and traditional territory of the xʷməθkʷəy̓əm (Musqueam), səlil̓wətaɁɬ (Tsleil-Waututh) and Sḵwx̱wú7mesh Úxwumixw (Squamish Nation)/East Vancouver with her partner composer Marc Stewart.© 2020 Tara Cheyenne Performance 

On this episode of Below the Radar, our host Am Johal is joined by Barbara Adler, interdisciplinary artist, programmer and SFU’s School for Contemporary Arts’ Professional Development Coordinator. Barbara’s artistic work has been presented at The Vancouver Folk Festival, Ballet BC, the Vienna Literature Festival and many more. She currently produces the weekly performance series Sawdust Collector, which showcases experimental and improvised works by established and emerging artists. She holds an MFA in Interdisciplinary Studies from Simon Fraser University. You can find out more about Barbara's artistic work here: http://www.tenthousandwolves.com/ You can learn about Sawdust Collector here: https://www.sawdustcollector.com/

Show notes below: Talking Shit with Tara Cheyenne is a Tara Cheyenne Performance Productionwww.taracheyenne.comInstagram: @TaraCheyenneTCP  /  FB: Tara Cheyenne PerformancePodcast produced, edited and music by Marc Stewartwww.marcstewartmusic.com  © 2020 Tara Cheyenne Performance Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts/iTunes Donate to keep this podcast ad-free go to: https://www.canadahelps.org/en/dn/13386 Show Notes and links:  Alanna Kraaijeveldhttps://www.alannamoves.com/ VIDF (Vancouver Int'l Dance Festival: MODUS OPERANDIMade and sustained by Alanna Kraaijeveld in collaboration with Modus Operandi artists and Kate Franklin, Line, Starting line, Practical questions, Disappear, Solos and small groups, Swirling, Space, All together is a scored improvised performance. https://vidf.ca/performance/modus-operandi/Modus Operandi:https://www.outinnerspace.ca/mo/ Fighting Monkey/Linda Kapetanea and Jozef Frucek: https://fightingmonkey.net/aboutSerge Bennathan: https://balletbc.com/bio/serge-bennathan/Dancemakers: http://dancemakers.org/Peter Boneham: https://www.thecanadianencyclopedia.ca/en/article/peter-bonehamLe Groupe Dance Lab: https://www.thecanadianencyclopedia.ca/en/article/le-groupe-dance-labSusanna Hood: http://susannahood.ca/Cirque du Soliel: https://www.cirquedusoleil.com/Ballet BC: https://balletbc.com/Dave St-Pierre: https://www.dansedanse.ca/en/dave-st-pierreCompany 605: http://company605.ca/ImpulsTanz: https://www.impulstanz.com/en/  About Tara:Tara Cheyenne Friedenberg is an award winning creator, performer, choreographer, director and writer. Artistic Director of Tara Cheyenne Performance, she is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level"(The Georgia Straight).Tara is celebrated nationally and internationally for her unique and dynamic hybrid of dance, comedy and theatre. The string of celebrated full-length solo shows to her credit includes bANGER, Goggles, Porno Death Cult, and I can’t remember the word for I can’t remember, and she partners regularly on multidisciplinary collaborations, commissions and boundary-bending ensemble creations. When she isn’t creating innovative movement for theatre, Tara performs around the world- highlights include DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, and High Performance Rodeo/Calgary. Recent works include The Body Project (premiering 2020/21 season) The River with dance artist Miriam Colvin and artist and activist Molly Wickham (premiering 2021 in Wet'suwet'en Territory), empty.swimming.pool with Italian dance/performance artist Silvia Gribaudi, (Castiglioncello, Bassano, Victoria, B.C. and Vancouver, B.C.), how to be (Vancouver, B.C.) , and I can’t remember the word for I can’t remember (currently touring). Tara lives on the unceded and traditional territory of the xʷməθkʷəy̓əm (Musqueam), səlil̓wətaɁɬ (Tsleil-Waututh) and Sḵwx̱wú7mesh Úxwumixw (Squamish Nation)/East Vancouver with her partner composer Marc Stewart.© 2020 Tara Cheyenne Performance 

Emily Molnar, the Artistic Director of Ballet BC sat down with Dance on Air the morning after the company opened the Jacob's Pillow Dance Festival this summer. Days later Molnar was announced as the next Artistic Director of NDT. This is her interview.

Artists of Ballet BC in Solo Echo. Andrew steps in to co-host while while Paul is halfway across the world! This week we were treated to a tantalizing triple-bill by Ballet BC, along with some tough, industrious love at the Citadel Theatre's production of Sweat. Also, an emotionally redeeming evening at a rousing Latinx cabaret curated by the Popol Vuh Project. I Don't Get It is a proud member of the Alberta Podcast Network, powered by ATB. Check out the flashback episode from 2015 when we first saw Solo Echo: https://idontgetityeg.com/2015/11/29/season-3-episode-4/★ Support this podcast on Patreon ★

Andrew steps in to co-host while while Paul is halfway across the world! This week we were treated to a tantalizing triple-bill by Ballet BC, along with some tough, industrious love at the Citadel Theatre’s production of Sweat. Also, an emotionally redeeming evening at a rousing Latinx cabaret curated by the Popol Vuh Project. I Don’t […]

Ballet British Columbia, Canada’s leading contemporary dance company, is heading to the UK for their first tour in 2018. Founded in 1986, Ballet British Columbia has been under the artistic directorship of Emily Molnar since 2009. Emily was recently appointed to the Order of Canada for her artistic leadership of the company and its contribution… The post Ballet British Columbia Artistic Director Emily Molnar – the ballerina who saved the company from bankruptcy appeared first on The Wonderful World of Dance Magazine.

It's a stacked episode, folks. Fawnda recounts her hike to the Banff Centre for Ballet BC‘s stunning 30th Anniversary showcase featuring works by Cayetano Soto, Stijn Celis, and Crystal Pite. Then, she and Paul unpack their thoughts on Convergence, the opening show of Good Women Dance Collective‘s season. Let's just say there are no apologies made. By anyone. Ever. https://idontgetityeg.com/wp-content/uploads/2015/11/idgi-s3e4.mp3★ Support this podcast on Patreon ★

It’s a stacked episode, folks. Fawnda recounts her hike to the Banff Centre for Ballet BC‘s stunning 30th Anniversary showcase featuring works by Cayetano Soto, Stijn Celis, and Crystal Pite. Then, she and Paul unpack their thoughts on Convergence, the opening show of Good Women Dance Collective‘s season. Let’s just say there are no apologies […]

In this third and final episode, Emily Molnar describes the tremendous opportunity she saw in heading Ballet BC at a turning point in its history. She outlines the three-year plan she developed before taking on its artistic directorship out of concern for its survival and place in the dance landscape of British Columbia and Canada. She attributes the success achieved to date to a small but strong group of highly committed individuals willing to reevaluate everything. Since July 2009, Ballet BC brought in 28 new works into its repertoire and implemented a successful resident-choreographer program. In closing, Emily defines her life-long fascination with the potential of the body and the expression of the body. And, prompted, she sketches her next three-year plan for Ballet BC.

In this second of three episodes, Emily Molnar speaks about the difficult decision of leaving Frankfurt Ballet, as she was turning 26, to branch out on her own. After contemplating quitting dance altogether, she chooses to become a principal dancer with Ballet BC where she interprets many roles, guided by then artistic director John Alleyne, including Puck in the production of The Fairie Queen. Emily talks about her work as an independent choreographer for, among others, Alberta Ballet, Ballet BC, and Cedar Lake Contemporary Ballet, and the tricky process of creating commissions. She mentions her collaboration with Gioconda Barbuto to make and perform the duet Lifelines, and describes the huge influence of her mentor, Canadian dance icon Margie Gillis. In 2009, Emily accepts the artistic directorship of Ballet BC at a time when the company's financial difficulties have brought it to a halt.

In this first of three episodes, Cathy speaks to Emily Molnar, Artistic Director of Ballet BC, the day after the company's return to the National Arts Centre Southam Hall stage following a 10-year absence. Emily recalls her early dream of becoming a prima ballerina; her training at the National Ballet School; and her subsequent four years at the National Ballet of Canada where she was discovered by William Forsythe commissioned by The National to create The Second Detail. At 21, Emily relocates to Germany to dance with Frankfurt Ballet. She describes the intense learning curve she faced and the incredible experience of working with William Forsythe, its famous artistic director, at a time when his company is taking the world by storm.