Podcasts about ballet british columbia

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   About Amber Funk Barton: Amber received her training with Goh Ballet Academy, Arts Umbrella, The Banff Centre Dance Training and Ballet British Columbia's Mentor Program. Over the past 20 years, Amber has worked as a professional contemporary dancer, working with such choreographers and companies such as Joe Laughlin (Joe INK), Gail Lotenberg (LINK dance), Judith Marcuse (Judith Marcuse Projects), Lola MacLaughlin (Lola Dance), Martha Carter (Marta Marta Productions), Jennifer Mascall (Mascall Dance), Day Helesic (MovEnt), Lee su-feh (battery opera), Karen Jamieson (Karen Jamieson) Dance Company), Josh Beamish (MOVE: the company), Dana Gingras (Animals of Distinction), Ruckus Company Productions, Adam Shankman, Mark Godden, Marla Eist, Jennifer Clarke, Emily Molnar, Wen Wei Wang, Cori Caulfield, Lina Fitzner and Heather Laura Gray. She has also been featured as a guest artist with Company 605 and performed in Neworld Theatre's King Arthur's Night.   In 2008, Amber established her own Vancouver based contemporary dance company, the response. and served as its artistic director until 2021.  As a choreographer, her work has been presented in various venues in Vancouver, across Canada, and internationally at the Chapter Arts Centre (Wales), the NW New Works Festival in (Seattle), and the BAAD!ASS Women Festival (Bronx, New York). Her work has also extended into theatre choreographing for Horseshoes and Hand Grenades, collaborating with theatre director Mindy Parfitt of Search Party Productions, Studio 58 and Alley Theatre.   Amber continues to do the majority of her work, learning, playing and living on the unceded and ancestral lands of the Musqueum, Squamish and Tsleil-Waututh Nations.   CLASS INFO! I am currently teaching at Luminesque Dance, Cmmn Grnd, and this fall at Uphoria Yoga.  You can also visit my website www.yogawamber.com if you'd like to book a one-on-one yoga session with me 

John Grady performed as a member of Blue Man Group and in Spalding Gray: Stories Left To Tell in New York City. John has performed around the country with The Moth storytellers. His stories have aired on NPR and CBC radio. His multiple award-winning solo shows, Dog Years, Little Pussy, and The Old Woman have played to sold out audiences at Fringe theatre festivals across the United States and Canada. John also trained at the National Ballet School in Toronto and was a soloist with Ballet British Columbia. TIME STAMPS [00:00:56]    Welcome aboard John- House sitting in LA [00:03:50]    Grady as a kid- The movies were the babysitter [00:08:08]    Ballet comes into the picture [00:16:10]    Learning to Act and perform [00:19:14]    Going out into the world as a young performer-Is this Porno? Ballet school [00:24:30]    The Long and winding road-starts as a dancer in Europe [00:27:14]    No more Europe- back to Ballet in Canada [00:32:24]    Going into acting professionally - Keep Moving [00:38:44]    Wrestling with John to be an actor [00:40:36]    The Blue Man Group [00:57:29]    From Sex and the City to Being a One Man Story Teller [01:02:12]    Spalding Gray- inspiration- The Journey IS the important part [01:08:33]    John does his own One Man Shows [01:17:24]    John doing TV guest spots [01:23:05]    Advice for the Performer Links John’s  Links https://www.thejohngrady.com/ (https://www.thejohngrady.com) John’s IMDB https://www.imdb.com/name/nm0996198/ (https://www.imdb.com/name/nm0996198/) Links to Russ on YouTube and his Websites https://linktr.ee/russcamarda (https://linktr.ee/russcamarda) Russ Movies https://www.imdb.com/title/tt2137381/ (https://www.imdb.com/title/tt2137381/) https://www.imdb.com/title/tt2414886/ (https://www.imdb.com/title/tt2414886/) http://www.russcamarda.com/ (http://www.russcamarda.com) http://tagstudiony.com/ (http://tagstudiony.com) Production partners https://idunleashed.com/ (https://idunleashed.com) Support this podcast

Stacey Tookey  is back and sharing with us current industry conversions and plans, how she has become her own business, the true practice of self care and working through imposter syndrome.  After connecting with pre-professionals and professional dancers feeling lost and disconnected, Stacey has created a virtual program called The Bridge where dancers from around the world receive unparalleled training, mind, body and artistry.  Emmy-nominated choreographer Stacey Tookey is a multitalented, Canadian-born director, choreographer and dancer who has worked with legendary musical artists such as Celine Dion, Bette Midler, Justin Timberlake, and Michael Bublé. Stacey performed as a member of Mia Michaels’ cutting edge dance company R.A.W., New York’s Parsons Dance Project, Ballet British Columbia, ChuThis, and the Houston Grand Opera’s Carmen. She also earned the coveted role as Assistant Choreographer for Broadway’s A Few Good Men Dancin’ and was an original cast member for the entire five-year run of Celine Dion’s record-breaking show, A New Day at Caesars Palace. Stacey’s passionate pieces on So You Think You Can Dance have earned her three consecutive Emmy nominations from 2010-12. She has also choreographed for Dancing With The Stars in the featured Macy’s Stars of Dance opening number. She choreographed the video for Atlantic Records recording artist Christina Perri’s chart-topping hit Jar of Hearts, as well as Vienne’s She Breaks, and John Torres Ocean music videos.

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 scored by Marc Stewartwww.marcstewartmusic.com  © 2019 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 About Amber Funk Barton:www.responsedance.com Amber Funk Barton is contemporary dance artist, born and raised in Vancouver.  She received her training with Goh Ballet Academy, Arts Umbrella, The Banff Centre Dance Training and Ballet British Columbia’s Mentor Program. Upon completion of her training, she established herself as a professional dance artist in Vancouver and has danced for various companies and choreographers, including: Joe Laughlin (Joe INK), Gail Lotenberg (LINK dance), Judith Marcuse (Judith Marcuse Projects), Lola MacLaughlin (Lola Dance), Martha Carter (Marta Marta Productions), Jennifer Mascall (Mascall Dance), Day Helesic (MovEnt), Lee su-feh (battery opera), Karen Jamieson (Karen Jamieson) Dance Company), Josh Beamish (MOVE: the company), Dana Gingras (Animals of Distinction), Ruckus Company Productions, Adam Shankman, Mark Godden, Marla Eist, Jennifer Clarke, Emily Molnar, Wen Wei Wang, Cori Caulfield, Lina Fitzner and Heather Laura Gray.  She has also been featured as a guest artist with Company 605. Over the past year, Amber has performed in Neworld Theatre’s King Arthur’s Night which recently received a Jessie Award for Outstanding Performance by an Ensemble.   As a choreographer Amber has had her work presented in various venues in Vancouver, across Canada which includes a commission from the National Arts Centre and internationally at the Chapter Arts Centre in Cardiff, Wales and the NW New Works Festival in Seattle, WA.  Her work has also extended into theatre where she has choreographed for Horseshoes and Hand Grenade’s This Stays in the Room which received the Critics’ Choice for Innovation from the Jessie Richardson Awards and led to her collaboration with theatre director Mindy Parfitt of their two women play am a.  Recent and current projects include the creation of Silas for Joe INK, Studio 58’s production of Mortified, #whatnow for Alley Theatre, Miscellaneous Productions and the creation of Firebird for Ballet Kelowna in 2019.     Amber is the inaugural recipient of The Dance Centre’s Iris Garland Emerging Choreographer Award.  She was also awarded the Holy Body Tattoo Emerging Artist Award in addition to sharing a People’s Choice Award with Shay Kuebler in the creation of their collaborative work Status Quo commissioned for the Dancing on the Edge Festival. Amber is also one of the few Canadians to receive a danceWEB contemporary dance scholarship to study and attend the ImPulsTanz festival in Vienna, Austria.  Amber has been a guest teacher of contemporary dance for Drive Dance Centre’s Scholarship Program, Harbour Dance, iNDUSTRY Dance Training Program, the Training Society of Vancouver (Working Class), Arts Umbrella, Victoria Academy of Dance, The Landing Dance Centre, Polymer Dance, Richmond Academy of Dance, Avant Dance Company and Caulfield School of Dance, where she currently teaches on staff.  Amber has been invited to set works for the students of Dancestreams, Modus Operandi, Arts Umbrella, Pro Arte Dance, The Landing Dance Centre, Simon Fraser University’s School of Contemporary Arts, Coastal City Ballet and Helix Dance Company. In 2016, Amber launched #dancehappy an outreach initiative through her company that offers free dance class once a month to people of all abilities and ages.   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). TTara 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. © 2019 Tara Cheyenne Performance 

Yan Lianke is one of China's most influential living writers. His often-satirical works have earned him an international readership. He has been touted for the Nobel Prize in Literature. And yet, most of Yan's books are effectively (if not formally) banned in China. Ben brings together three previous guests (Tricia Baldwin, Elizabeth Goodyear-Grant and Daniel Woolf) to discuss the rise of China, the absurdity of modern life, and what government power will look like in the future. Their point of departure is a 2018 profile of Yan Lianke in The New Yorker magazine. Note: you don't need to read anything before listening to the conversation; the below piece is a starting point only. Read the article in The New Yorker by Jiayang Fan. Read the blog post for this episode. About Yan Lianke Yan Lianke has secured his place as contemporary China’s most essential and daring novelist, “with his superlative gifts for storytelling and penetrating eye for truth” (New York Times Book Review). His newest novel, The Day the Sun Died—winner of the Dream of the Red Chamber Award, one of the most prestigious honours for Chinese-language novels—is a haunting story of a town caught in a waking nightmare. Yan was born in an impoverished region of Song County, Henan Province in 1958. His parents, illiterate farmers who lacked the means to send him to university, encouraged him to enlist in the army, where he rose in the ranks to become a propaganda writer. Upon returning to civilian life, Yan embarked on a career as a novelist. Over the last 30 years, he has produced an extensive body of work that ranges from novels, novellas and short fiction to essays and criticism. Although he has had two of his novels banned in China and was, for a period of three years, prohibited from obtaining a passport or travelling abroad, Yan continues to speak honestly about the impact that government censorship—and self-censorship—have had on contemporary Chinese writers. His full-length novels include: The Dream of Ding Village (丁庄梦, Ding Zhuang Meng), a tale of the blood trade and subsequent AIDS epidemic in a rural Henan village; The Joy of Living (Alt title: The Living, 受活, Shou Huo), a sweeping tale of the lives of disabled rural villagers from the Chinese Communist revolution through the years of reform and opening; The Sunlit Years (日光流年, Riguang Liunian); Solidity of Water (also called Hard as Water, 坚硬如水, Jianying Ru Shui) and Serve the People (为人民服务, Wei Renmin Fuwu), which was banned in China and later translated into English, French and Japanese. He has published ten collections of novellas and short stories: among them, the critically acclaimed Days, Months, Years (年月日, Nian Yue Ri), Song of Balou (耙耧天歌, Balou Tiange) and a five-volume set of his collected works. He is a member of the Chinese Writers’ Association and the recipient of numerous literary awards, including the first and second Lu Xun Literary Prizes and the Lao She Award for literary excellence, awarded in recognition of his novel The Joy of Living (受活, Shou Huo), considered by many to be his master work. Yan is also a winner of the Franz Kafka Prize.   About the Guests Tricia Baldwin Listen to Ben's previous podcast conversation with Tricia (Episode 12 on The Role the Arts Play) Tricia Baldwin became the Director of the Isabel Bader Centre for the Performing Arts (‘the Isabel’) in December 2014, and works with a tremendously talented team at the Isabel. Tricia is responsible for its programming featuring top diverse emerging and established artists, education, student and community engagement resulting in significant increase in audience participation, socially engaged art, and facilities management. She established the Isabel as an arts incubator for new works, the Ka’tarohkwi Festival of Indigenous Arts with curator Dylan Robinson, the Isabel Human Rights Arts Festival, and the Isabel Overton Bader Canadian Violin Competition. Tricia is the co-creator of Queen’s University’s new M.A. in Arts Leadership program with Queen’s Dan School of Drama and Music, and is the course developer and instructor of the program’s Contract Negotiations in the Arts graduate course. A champion of training the next generation of arts leaders, Tricia has been a mentor with the Canadian Heritage Talent to Lead Program and the Cultural Career Council of Ontario Mentor Program. Tricia recently served on the International Association of Venue Managers Association conference panel on arts management education. Prior to the Isabel, Tricia Baldwin was the Managing Director of Tafelmusik from 2000 to 2014. During this period, Tafelmusik doubled its operating revenues and increased its endowment seventeen fold. The orchestra undertook over 50 national and international tours, created 20 recordings and films that garnered significant industry awards and nominations that led to the launching of its recording label and digital concert hall, established artist training programs attracting pre-professional musicians from around the world, and undertook a successful $3M venue renovation. Tricia also headed up Tafelmusik’s expansion of venues within Toronto that contributed to the doubling of earned revenues and significant audience development. Prior to Tafelmusik, she was the Executive Director of Ballet British Columbia and General Manager of the Kingston Symphony. Tricia received her Bachelor of Music (University of Toronto) and her MBA (York University), and has continued her education with courses from Harvard Business School, University of Oxford School of Continuing Studies, the Harvard Kennedy School, and Boston University. Tricia Baldwin has been awarded the Canada Council for the Arts’ John Hobday Award in Arts Management, a scholarship to attend Harvard University’s Strategic Perspectives in Non-Profit Management program, First Prize for Student Philosophy Essay from the University of Oxford School of Continuing Studies, and the Queen’s Human Rights Initiative Award. As a volunteer, she currently serves on the Advisory Board of the York University Schulich School of Business Arts, Media, and Entertainment Management program, the City of Kingston Arts Advisory Board and Professional Development Working Group, and St. Lawrence College Music and Digital Media Program Advisory Committee. She has been a panel advisor/juror/assessor for the Canada Council for the Arts, Ontario Arts Council, Manitoba Arts Council, City of Toronto Cultural Services, City of Barrie Department of Culture, and the Department of Canadian Heritage. Learn more about Tricia. Elizabeth Goodyear-Grant Listen to Ben's previous podcast conversation with Elizabeth (Episode 37 on US Politics: Women, Polarization and the Media) Elizabeth Goodyear-Grant (Ph.D. McGill) is an Associate Professor in the Department of Political Studies at Queen’s University, and the Director of both the Queen’s Institute of Intergovernmental Relations (IIGR) as well as the Canadian Opinion Research Archive (CORA). Her research focuses on Canadian and comparative politics, with particular interests in electoral politics, voting behaviour, and public opinion; news media; and the political representation of women. She is the author of Gendered News: Media Coverage and Electoral Politics in Canada (Vancouver: UBC Press, 2013), which won the 2016 Pierre Savard Award from the International Council of Canadian Studies, and was one of three books shortlisted for the Canadian Political Science Association’s 2014 Donald Smiley Prize. In Gendered News, Goodyear-Grant presents compelling evidence that gender structures certain aspects of news coverage of candidates and politicians – not how much they’re covered, but certainly how they’re covered – and demonstrates that these differences can impact negatively on female candidates’ and leaders’ electoral prospects and political careers, contributing to the persistent under-representation of women at all levels of politics. Goodyear-Grant has also published work on attitudes toward democracy and political representation, attitudes toward the use of referenda, and so on, all part of a larger research agenda that concentrates on representation and political behaviour published in venues such as Political Behaviour, Politics & Gender, Electoral Studies, Commonwealth & Comparative Politics, and the Canadian Journal of Political Science. In the Department of Political Studies at Queen’s, Goodyear-Grant teaches courses on campaigns and elections; women, gender, and politics; Canadian politics more generally; and empirical methods. Learn more about Elizabeth Goodyear-Grant or follow her on Twitter (@eplusgg). Daniel Woolf Listen to Ben's previous podcast conversation with Daniel (Episode 10 on History and Jazz) Daniel Robert Woolf is the 20th Principal and Vice-Chancellor of Queen’s University, a role he stepped into on September 1, 2009. It wasn’t his first time on the campus, of course: Principal Woolf studied at Queen’s as an undergraduate in the late 1970s, graduating with a degree in history in 1980. After earning his doctorate at Oxford University (DPhil’83), Dr. Woolf returned to Queen’s in 1984 as a Social Sciences and Humanities Research Council (SSHRC) postdoctoral fellow in history. His teaching career took him from Queen’s to Bishop’s University, before he joined the history department at Dalhousie University in 1987. Seven years later, he became a full professor, then associate dean and later, the acting dean of Graduate Studies. In 1999, Dr. Woolf moved to McMaster University, where he held the role of dean of the Faculty of Humanities. He joined the University of Alberta as dean of Arts in 2002. Dr. Woolf, who is a Fellow of the Society of Antiquaries of London, the Royal Society of Canada and the Royal Historical Society, admits that learning he would become the principal of his alma mater initially inspired feelings of “shock, elation, and a little bit of fear,” and he continues to regard his role as both an honour and a challenge. A specialist in early modern British cultural history and the history of historical thought and writing, Dr. Woolf continues to teach at Queen’s on a part-time basis as a professor in the Department of History, and also pursues his own research and writing. He is the author or editor of a number of scholarly articles, monographs and books, including the five-volume Oxford History of Historical Writing (2011-2012) and a textbook on historiography entitled A Global History of History (Cambridge University Press, 2011), which has been translated into several languages. But Principal Woolf isn’t just about books (though he does have a growing collection of old and rare ones!) – he is also a fan of music (especially jazz), classic movies and is the father of three (one of whom is also a Queen’s graduate). Born in London, England, Dr. Woolf grew up in Winnipeg. A love of academia runs in his family: his mother taught English at university, his physician father was a member of a medical school faculty, and his uncle is a historian of modern Europe. Dr. Woolf, who began his second term as principal in 2014, is motivated by Queen’s students and by their dedication to making a difference in the world. While the university is a bigger place than it was when he was a student, it is also more research-intensive and has a more diverse student body. Since taking the helm, Dr. Woolf has built new connections with government, industry and institutions across Canada, led Queen’s through an extensive series of planning exercises, established the Principal’s Commission on Mental Health, and overseen the Initiative Campaign, the most ambitious fundraising campaign in Queen’s history. Principal Woolf’s term concludes on June 30, 2019.

Cathy converses with internationally acclaimed, award-winning Vancouver dance artist Crystal Pite following the NAC opening night performance of Revisor, her most recent choreographic work co-created with Canadian actor/writer Jonathon Young. They touch on Crystal's childhood aspiration to be a complete dance artist, her early choreographic career, the founding of her company Kidd Pivot in 2002 that united the dancer and choreographer in herself, and life-work balance. Crystal has created over 50 works for her company and others such as Ballet British Columbia, Les Ballets Jazz de Montréal, Cedar Lake Contemporary Ballet, Nederlands Dans Theater and The Royal Ballet. In great demand internationally, her immediate future includes a tour of Revisor and commissions by The Paris Opera Ballet, The National Ballet of Canada and Nederlands Dans Theater.

What is the role of art and music in our society? Is art supposed to effect change or simply represent it after the fact? Is all good art subversive, and is all subversive art good? What does it mean for an arts organization to be responsible to its audience: give them what they want, or help them develop newer, deeper, unexpected tastes? How do you nurture art and artists who work on a cutting edge that is not always popular or immediately accessible, yet still keep it commercially viable? Ben chats with the award winning arts administrator, and Director of the Isabel Bader Centre for the Performing Arts in Kingston, Tricia Baldwin.  About the Guest Tricia Baldwin became the Director of the Isabel Bader Centre for the Performing Arts (‘the Isabel’) in December 2014, and works with a tremendously talented team at the Isabel. Tricia is responsible for its programming featuring top diverse emerging and established artists, education, student and community engagement resulting in significant increase in audience participation, socially engaged art, and facilities management. She established the Isabel as an arts incubator for new works, the Ka’tarohkwi Festival of Indigenous Arts with curator Dylan Robinson, the Isabel Human Rights Arts Festival, and the Isabel Overton Bader Canadian Violin Competition. Tricia is the co-creator of Queen’s University’s new M.A. in Arts Leadership program with Queen’s Dan School of Drama and Music, and is the course developer and instructor of the program’s Contract Negotiations in the Arts graduate course. A champion of training the next generation of arts leaders, Tricia has been a mentor with the Canadian Heritage Talent to Lead Program and the Cultural Career Council of Ontario Mentor Program. Tricia recently served on the International Association of Venue Managers Association conference panel on arts management education. Prior to the Isabel, Tricia Baldwin was the Managing Director of Tafelmusik from 2000 to 2014. During this period, Tafelmusik doubled its operating revenues and increased its endowment seventeen fold. The orchestra undertook over 50 national and international tours, created 20 recordings and films that garnered significant industry awards and nominations that led to the launching of its recording label and digital concert hall, established artist training programs attracting pre-professional musicians from around the world, and undertook a successful $3M venue renovation. Tricia also headed up Tafelmusik’s expansion of venues within Toronto that contributed to the doubling of earned revenues and significant audience development. Prior to Tafelmusik, she was the Executive Director of Ballet British Columbia and General Manager of the Kingston Symphony. Tricia received her Bachelor of Music (University of Toronto) and her MBA (York University), and has continued her education with courses from Harvard Business School, University of Oxford School of Continuing Studies, the Harvard Kennedy School, and Boston University. Tricia Baldwin has been awarded the Canada Council for the Arts’ John Hobday Award in Arts Management, a scholarship to attend Harvard University’s Strategic Perspectives in Non-Profit Management program, First Prize for Student Philosophy Essay from the University of Oxford School of Continuing Studies, and the Queen’s Human Rights Initiative Award. As a volunteer, she currently serves on the Advisory Board of the York University Schulich School of Business Arts, Media, and Entertainment Management program, the City of Kingston Arts Advisory Board and Professional Development Working Group, and St. Lawrence College Music and Digital Media Program Advisory Committee. She has been a panel advisor/juror/assessor for the Canada Council for the Arts, Ontario Arts Council, Manitoba Arts Council, City of Toronto Cultural Services, City of Barrie Department of Culture, and the Department of Canadian Heritage. Learn more about Tricia.

Episode 100 with Stacey Tookey! Can this get any better?! We talk NYC, Authenticity, Most Powerful moments on and off stage and knowing your worth  (artistically and financially) with Emmy-nominated choreographer Stacey Tookey. She  is a multitalented, Canadian-born director, choreographer and dancer who has worked with legendary musical artists such as Celine Dion, Bette Midler, Justin Timberlake and Michael Bublé. She performed as a member of Mia Michaels’ cutting edge dance company R.A.W., New York’s Parsons Dance Project, Ballet British Columbia, ChuThis and the Houston Grand Opera’s Carmen. She also earned the coveted role as assistant choreographer for Broadway’s A Few Good Men Dancin’ and was an original cast member for the entire five-year run of Celine Dion’s record- breaking show A New Day at Caesars Palace. Stacey’s passionate pieces on So You Think You Can Dance have earned her three consecutive Emmy nominations from 2010-12. She has also choreographed for Dancing With The Stars in the featured Macy’s Stars of Dance opening number.

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.

The best kind of reunion - old duet partners!! Scott Maybank had a late start in his training, but that didn't let him shy away from pursuing the top Ballet schools across Canada. Over his ten year career Scott worked for Ballet British Columbia, West Australian Ballet and the Queensland Ballet, eventually retiring in his hometown of Edmonton after dancing with Alberta Ballet. With the help of the Dancer Transition Resource Centre, Scott is now a Chiropractor committed to helping Dancers feel healthy & work efficiently. From the worst thing you can do to your body, to best physical & mental practices- Scott shares his how to create a successful career with a lot of laughter!