dance – Page 5

Impactful works at Chutzpah!

After COVID-19 hit, The Eichmann Project – Terminal 1 evolved into a per- formance directed to a camera. (photo from Pathos-Mathos Company)

Art has many facets, forms and reasons for being. As much as it can be an escape from our daily realities, it can help us process and understand them, sometimes in vastly different ways. The Chutzpah! Festival, which opens Nov. 4 with City Opera Vancouver singers performing to the Marx brothers’ A Night at the Opera, features many examples of entertainment with multiple purposes.

On the face of it, Project InTandem’s dance double bill (Nov. 6-7) might seem to have nothing in common with the theatre work The Eichmann Project – Terminal 1 (Nov. 8). Yet both deal with, among other things, trauma and post-traumatic stress disorder, as well as our ability to change ourselves and even our circumstances.

The Eichmann trial

Lilach Dekel-Avneri and the Pathos-Mathos Company’s Terminal 1 examines the 1961 trial, in Israel, of Adolf Eichmann, one of the main perpetrators of the Holocaust. The books of attorney-general Gideon Hausner, political theorist Hannah Arendt and journalist and poet Haim Gouri, “with their testimonies on the trial, were the inspiration for the three main ‘characters’” of the theatre work, explained Dekel-Avneri. “My dramaturg, Liat Fassberg, and I, like in a Greek tragedy, positioned the two main characters with opposing worldviews, one against of the other. The words by poet Haim Gouri, who was present at the courtroom and reported daily from there, were composed and treated as a chorus. The chorus tries to advance in telling the tale of the trial while providing a dramatic lament on the happenings.

“It is actually a trial of the trial,” said Dekel-Avneri, “dotted with texts from researchers of the Holocaust and post-traumatic stress disorder, poets, philosophers, and performers’ live comments between those three main voices. The COVID-19 epidemic presents itself in the team’s testimonies and actions, erasing all plans and forcing project evolution into a digital performance to the camera.”

Dekel-Avneri refers to the Eichmann trial as “the first reality show in Israel.”

“A lot has been said about the connection between trials and performance,” she explained. “The Eichmann trial was the first trial-show recorded in front of a live audience, that actually bought tickets, and was projected live on the radio, later on television, with the full documentary show now available on the internet.”

Terminal 1 explores the concepts of collaboration and obedience, and asks, “What is our responsibility as citizens, as artists?”

“It’s an extension of Arendt’s brilliant manifest evoking the citizens to think by themselves and not to obey automatically. Not to automatically be part of horrific systems, just because they say: do this and not that,” said Dekel-Avneri. “We are thinking creatures, the least we can do is use our heart and brain, take responsibility for our actions, and not collaborate with demons.”

The show initially was created to be interactive with an audience and then remade for film because of COVID.

“During 2020, at the beginning of the outbreak, the Israel Festival, where we premièred, decided to move online, so I made my choice,” said Dekel-Avneri. “Since I do not believe in shooting a theatre show and screening it, I had to let go of my vision for the full project I was working on for six years, and re-create it as something new, made especially for the camera.

“The Eichmann Project – Terminal 1 is, for me, the first station, like its name,” she continued. “The last station may be completed in the future, or not. It will need to start almost from the beginning. We hope that one day we will find a sponsor or a theatre to collaborate with and fulfil the vision of this Via Dolorosa of 21 live scenes. The trial is not going anywhere and, unfortunately, we, by ‘we’ I mean humanity, do not learn from our past mistakes, so it looks like it will remain relevant for awhile.”

photo - Lilach Dekel-Avneri — Lilach Dekel-Avneri *(photo by Shachaf Dekel)*

Dekel-Avneri recently premièred Crowned, which she described as “a performative portrait, broken by the encounter with time, shattered in the prism of the plague, emerging through a web of video and audio testimonies by seven women at different decades of their lives, which coalesce into a course of a lifetime. An attempt to leave a monument to the voice of femininity at the current time, femininity striving, despite everything, to see the opportunity for growth within the crisis and wonder about the intersection between life and art at a time of change. These women take responsibility of their actions, future and well-being,” she said.

“In a way,” she added, “Crowned is a post-traumatic response to what COVID did to The Eichmann Project. After being torn apart from my original vision and separated from the audience, I prepared a show for any situation – we are not afraid from lockdowns or the camera anymore. The camera became a friend, a tool and a partner, to continue creating performative works.”

Struggle, empowerment

Project InTandem – which was cofounded by Calgary-based producers and choreographers Sylvie Moquin and Meghann Michalsky in 2017 – brings two works to the Chutzpah! Festival: Deep END by Michalsky and moving through, it all amounts to something by Moquin.

“This double-bill,” explains the press material, “explores themes of female struggle and empowerment…. Michalsky investigates how movement can accumulate and evolve through set rounds and repetition. Moquin’s work is inspired by the concept of neuroplasticity and the journey of rewiring one’s patterning.”

photo - Project InTandem – Meghann Michalsky and Sylvie Moquin – bring two works to the Chutzpah! Festival — Project InTandem – Meghann Michalsky and Sylvie Moquin – bring two works to the Chutzpah! Festival. *(photo by Tim Nguyen)*

The pair met for the first time when they both created short works for a production at the University of Calgary, eventually forming Project InTandem “to share workload, resources, and to create an opportunity for emerging artists to produce evening length work.”

“Having Meghann as a collaborator has always pulled me to a higher standard,” Moquin told the Independent. “I think we work together in a way that elevates us to achieve more than what might be possible on our own. It also makes the journey of being an artist less lonely.”

“Our approaches to dance can sometimes overlap because we have had similar experiences or opportunities, or trained within similar methods,” they said in their email interview with the JI. “All of our accumulated experiences as dancers and movers inform us as creators; those experiences become like an inventory of information.”

Moquin has been a dancer within Michalsky’s choreographic works since 2018, so that also informs their relationship.

“Some of our shared values include creating work with visceral physicality, creating opportunities within our city, elevating the production value of contemporary dance work, and always prioritizing integrity,” they said.

Each has her own interests, though.

“I am really interested in exploring what the body can endure in this work,” said Michalsky. “We push and we push again. As performers, we pass through movements and states and eventually surrender to things that are no longer needed. I am interested in seeing the dancer go through something tangible in real time, something that is honest and showcases risk and vulnerability. As a choreographer, I play with conflict from both internally in the body and externally in the space and I desire for both of these things to be felt by the audience.”

About her piece, moving through, Moquin said, “When creating this work, I was completely immersed with investigating partner work (the way bodies engage and interact) as well as being upside down. I used these primary desires to dig into the concept of neuroplasticity – the way we adapt, the way we can gain governance over our thinking; sometimes even the feeling of being trapped in our own mind and thoughts.

“I am a big believer that we must fail in order to succeed,” she continued. “As a choreographer, I use the sensing body to somatically approach theories I find fascinating in the world. I am especially interested in how bodies interact with one another, how they can support each other to fly, spin, and find themselves upside down effortlessly. I am keenly interested in the effects of the mind, the power of our thoughts, and the ability for change and growth. I would say that my research and choreography seeks to find a sense of hope within a world of chaos.”

The initial vision of moving through included the use of “walls.”

“I couldn’t get the idea out of my mind, and so I finally started looking into building/creating something to fulfil these ideas,” said Moquin. “The material used (a form of Plexiglass) was almost a happenstance. I became fascinated by the translucent quality. I had no way of knowing how this material would have such an impact within our world merely months after creating and premièring the work in March 2020. As I watch this work now, two years later, after a global pandemic, it is almost startling to watch the dancers engaging with these Plexiglass structures.”

The Chutzpah! Festival runs Nov. 4-24. For tickets and the full lineup, visit chutzpahfestival.com or call 604-257-5145.

A special open house

Highlights of the Scotiabank Dance Centre’s 20th anniversary celebration include a performance on the outside wall of the building by aerial dance company Aeriosa. (photo by Louise Cecil)

Scotiabank Dance Centre celebrates its 20th anniversary on Oct. 2 with a special edition of its annual open house. Highlights include a performance on the outside wall of the building by dance company Aeriosa; a creative activation of the Granville Street frontage by Company 605 and guests; free classes, events and exhibits; and the online première of a short film by Milos Jakovic and Hossein Fani.

“The Scotiabank Dance Centre is an important and colourful feather in Vancouver’s cultural cap,” said Jewish community member Linda Blankstein, a former Dance Centre board chair and current Dance Foundation board chair. The facility was built “specifically for dance in all its creative forms, from hip hop to ballet and flamenco to contemporary and everything in between,” she said. “Pre-COVID, the building would see approximately 87,000 people pass through its front door every year. It is extremely important for people of all ages, from toddlers to seniors, and amateur to professional dancers, to have a facility where creativity is shared while nurturing a sense of belonging for individuals seeking activity and connection.”

One of the centre’s studios is named after another Jewish community member, Judith Marcuse, who has had her offices and rehearsal space in the building since its inception.

Some of the highlights of the open house – for which all recommended COVID-19 protocols will be in place – include Aeriosa’s Home/Domicile, choreographed by Julia Taffe in collaboration with visual artists Sarah E. Fuller and Stuart Ward. This new aerial dance work is inspired by moths, and the dancers, wearing “moth” cloaks designed by Fuller, will perform on the north wall.

Company 605’s SPLAY comprises a special program of artists who will animate various spaces of the Scotiabank Dance Centre building. Each artist will create encounters for viewers inside and outside, making their process and practice visible, culminating in a sharing of intimate performance experiences across a variety of formats.

There will also be a performance of excerpts of new works in progress from artists Sujit Vaidya, an exponent of Bharatanatyam (a form of Indian classical dance), and Dumb Instrument Dance. Classes include tap and footwork with Danny Nielsen and Shay Kuebler; flamenco with Kasandra “La China” of Al Mozaico Flamenco Dance Academy; hip hop, breaking, waacking and contemporary with Cristina Bucci of OURO Collective; and AfroBeats with AKS Bison.

The documentary by Jakovic and Fani – which has the working title of Our Dance – will also be screened. It captures the impact Scotiabank Dance Centre has had on the dance community over the 20 years of its existence.

Housing six dance studios and a theatre, Scotiabank hosts hundreds of rehearsals, classes, workshops, performances and events every year.

“It has been immensely rewarding to see how Scotiabank Dance Centre, which began as a dream so many years ago, has contributed to the arts scene in our city and the growth of B.C.’s dance community,” said Mirna Zagar, executive director of the Dance Centre, which operates the building and runs programming. “As hub for dance, it provides high-quality studio space, but it is much more than just a building: we have nurtured a stimulating environment that is supportive of the creative potential of dance artists, contributing to a thriving synergy within the arts sector in Canada.”

Oct. 2’s open house runs from 1 to 6 p.m. at Scotiabank Dance Centre. For more information, call 604-606-6400 or visit thedancecentre.ca.

– Courtesy Scotiabank Dance Centre

Chutzpah! coming soon

Josh “Socalled” Dolgin leads an evening of Yiddish songs as part of Chutzpah! 2021. (photo from Chutzpah!)

The Chutzpah! Festival returns this November, presenting music, theatre, comedy and dance that reflect the joy of coming back together. For more than two decades, Chutzpah! has been an annual highlight of Greater Vancouver’s arts season. From Nov. 4 to 24, artists will once again grace the stage of the Norman & Annette Rothstein Theatre, the festival’s hub, and share their work in person and online. Tickets go on sale Sept. 15.

The 21st Annual Chutzpah! Festival will include a variety of performances, paired with conversations and opportunities to interact with the artists. Audiences will have the chance to attend in-person shows, with COVID safety protocols in place, or enjoy digital streams from their homes. With an emphasis on artists from across Canada, the festival will also present work from Israel, the United States and the United Kingdom.

“Artists and arts enthusiasts alike have been eagerly awaiting our chance to come back together to share our stories,” said Jessica Mann Gutteridge, artistic managing director. “With the joy of reconnecting comes the knowledge that our lives have profoundly changed over the past year-and-a-half. The Chutzpah! Festival will explore and celebrate the many ways we tell stories now, with a variety of ways to experience and participate in the work.”

The festival opens Nov. 4 with a screening at the Rothstein Theatre of the Marx brothers classic A Night at the Opera, during which City Opera Vancouver will sing the operatic music parodied in the film. The 1930s cinema experience will include festive treats, glamour and a costume contest.

In the comedy realm – all in-person performances at the Rothstein Theatre – Canadian-born, New York-based stand-up comedian, storyteller and writer Ophira Eisenberg, host of NPR’s comedy and trivia show Ask Me Another, performs Nov. 10. Israeli-American stand-up comedian Avi Liberman is joined by special guest Jacob Samuel and host Kyle Berger on Nov. 20. And Iris Bahr, who impressed Chutzpah! audiences in 2020 with her festival hosting and her solo show DAI (enough), performs her new solo show Nov. 23.

The dance performances at the Rothstein will be in-person events, as well as digitally streamed. Nov. 6 and 7, a Project inTandem double-bill features the works of Calgary producers and choreographers Sylvie Moquin and Meghann Michalsky, which explore the themes of female struggle and empowerment. Nov. 13 and 14, Shay Kuebler/Radical System Art return to Chutzpah! as resident artists with the third “chapter” of Kuebler’s research that began in 2018, after he read about the United Kingdom hiring a minister of loneliness. On Nov. 16 and 18, Ballet BC artist in residence Alexis Fletcher, who was 2019 and 2021 Chutzpah! resident artist, returns to the festival with a solo integrating movement and the visual art of Vancouver painter and HIV/AIDS activist Tiko Kerr, while 2020 and 2021 Chutzpah! resident artist Ne.Sans Opera & Dance, led by Idan Cohen, returns to showcase a new solo drawing inspiration from the myth of Orpheus and Gluck’s opera Orfeo ed Euridice, with co-creator Ted Littlemore (aka Mila Dramatic).

Theatre works featured are Lilach Dekel-Avneri and the Pathos-Mathos Company’s The Eichmann Project – Terminal 1 on Nov. 8 (digital stream available); The Flame – An Evening of Storytelling on Nov. 17, under the stewardship of artistic director Deborah Williams, featuring storytellers including Stephen Aberle, Glenda Zenoff, Eleanor Lipov and Helen Schneiderman, with musical guest Anton Lipovetsky; and Halifax-based Surplus Production Unit’s A Timed Speed-Read of the Triangle Shirtwaist Factory Fire Trial Transcript on Nov. 21 and 22.

Montreal’s Josh “Socalled” Dolgin, accompanied by a local string quartet, leads an evening of rediscovered Yiddish songs, with stories and perhaps a little magic, on Nov. 19, and Israel’s Guy Mintus Trio’s performs A Gershwin Playground Nov. 24. (Digital streams available for both shows.)

Nov. 8-12, Chutzpah! Festival favourite, U.K.-based theatre artist Tamara Micner, transforms her theatrical work-in-progress (workshopped in the 2020 festival) into an audio installation. Audience members will be invited into the Zack Gallery to listen to Micner’s reading of letters written to Paul Simon and Art Garfunkel, reflecting on how their music informs her feelings about friendship, activism, Jewishness and art. There will be opportunities to “meet” the artist via video stream for conversations about her work and ideas.

Throughout the festival, Bahr converses with festival artists, featuring her stand-up and a wide-ranging cast of characters.

Due to COVID-19 safety processes, all tickets must be purchased in advance and will not be available at the door. Visit chutzpahfestival.com starting on Sept. 15 or call 604-257-5145.

– Courtesy Chutzpah! Festival

Communicating with visuals

“Hanging Out” by Derry Lubell.

Derry Lubell’s photography captures the motion of dance, the ephemeral magic of the art form that generally only exists at the moment of performance. Unless, of course, it is recorded by a talented photographer.

Lubell’s solo exhibition The Body Speaks: Dance • Movement • Emotion opened on July 2 at the Zack Gallery. The official opening on July 8 was in person, as the long months of COVID restrictions started to ease. The gallery’s latest email to its patrons joyously states: “Appointments are no longer needed to see the show in person. Come on in!”

photo - “The Dichotomy” by Derry Lubell — “The Dichotomy” by Derry Lubell.

When you do go in, you’re surrounded by dance and dancers, their beautiful faces, and their astounding bodies. The gallery is a quiet place, but you can almost hear the music floating in the air, while the graceful ballerinas leap and pirouette around you. Most images are black and white or rendered in muted colours. “I think you can see the lines better in black and white,” said Lubell in an interview with the Independent. “The colour is often distracting, and I don’t want that. I don’t like fussy. I want clean shots.”

Lubell has been an artistic photographer for about five years. “Before that, I had a career as a psychotherapist. I had a family to raise,” she mused. “I always had a small camera with me, since I was young, to photograph my family or places I visited, but it was casual, like memory shots. After I retired, I started thinking: what else do I want to do? I always enjoyed talking to people, understanding their emotions. I wanted to do something similar but without the responsibility. Photography allows that. Using photography, I can still communicate with people, discern their emotions, reach their hearts, but on a visual level, without words.”

photo - Derry Lubell — Derry Lubell *(photo from Derry Lubell)*

The former psychotherapist reinvented herself as a photographer, and it led her on a long road of self-exploration, especially because the technology had progressed so much. “I had to learn computers,” she said. “I work harder now than before I retired. Shooting. Editing my pictures. Studying. Taking classes. Looking at other photographers’ images to see what works and what doesn’t. I put up my pictures on my website and Instagram, so others can see me, too.”

The dancing series is her latest, and it came about almost by accident. “I always enjoyed working with people who are comfortable with their bodies,” she said. “Even as a psychotherapist, I paid attention not only to words but to body language. Many people speak with their bodies. Dancers are the best at that.”

Her admiration of dancers prompted her a few years ago to enrol in dance lessons. “It was incredible,” she remembered. “The instructor was wonderful. I asked her: could I take your photograph? She agreed. After that, I photographed her and some of her students, and some other dancers.”

Lubell prefers taking pictures in people’s natural milieu. Some of the photos in the exhibit she took during rehearsals in the dancers’ studio spaces around the city. For others, she arranged meetings with the dancers outside, in urban surroundings, parks or the beach.

“Each session is an hour or two hours long. Each one is a collaboration between a photographer and a dancer,” she explained. “Together, we choose a location. I would ask her to bring half of her dancing wardrobe, and we try different costumes to see what works for the camera. I often select the background, and then the dancer would start dancing, and I would walk around and take shots. I might suggest a position or a prop, like ‘play against that log’ or ‘turn this way,’ but they are the performers. They like to perform. It is up to me to capture the perfect moment.”

One of those moments resulted in a unique picture. Only the legs of the dancer are showing. One wears a point shoe, posing like a coquette on a staircase. The other is still wearing a stiletto. The photo, titled “The Dichotomy,” emphasizes the dual nature of the subject: a woman and a dancer.

“It was sold before the show started,” Lubell said. “I brought pictures to the gallery to hang on the walls. Everything was still on the floor, in boxes. I left the gallery for a few minutes. When I came back, Hope [Forstenzer, the gallery director] said: ‘You know, this one just sold.’ Before it was even displayed.”

photo - “Form in Flight” by Derry Lubell — “Form in Flight” by Derry Lubell.

Another interesting image, “Form in Flight,” is of a young dancer in street clothing jumping in front of a brick wall. Lubell took the photo in Chinatown. “It is one of the oldest walls in the city,” she said. “I walked around Chinatown with that dancer. She is a student, but she loves dancing. When I saw that wall bordering a parking lot, I asked her to dance against it.” The dancer’s flight in the image is airy and joyful.

Several pictures display more than one dancer. One of those photos, called “Hanging Out,” is imbued with humour: one dancer is hanging from a wall with her hands, while the other is hanging upside down by her feet. “They are best friends,” Lubell said. “They met years ago as gymnasts. One does stunts for the movies now – she is the one who is upside down. I asked them to dance against the wall, and they started playing together, having fun. That mutual pose was a surprise to me.”

Lubell considers her dancers as partners in her art. “They have the right of veto. It doesn’t happen often, but sometimes they would say: ‘Don’t use this picture, my leg is in the wrong position.’ And I won’t. I honour their requests. After all, they honour me by allowing me to shoot their photos.”

The Body Speaks is on display until Aug. 16. For more information, visit the photographer’s website, derrylubell.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Dancing online and onstage

For this year’s Dancing on the Edge, Alexis Fletcher and Ted Littlemore perform together in a work created and directed by Vanessa Goodman. (photo by Sylvain Senez)

This year’s Dancing on the Edge contemporary dance festival features a lineup of online and onstage live performances, including Tuning, a new duet created and directed by Jewish community member Vanessa Goodman. And Tara Cheyenne Performance is among the artists who will be presenting films (details TBA).

During its July 8-17 run, the festival will present more than 30 shows, with artists from across Canada. On offer will be some specially curated digital programming with recorded performances, premières of dance films, dance discussions, outdoor live performances in the Firehall Arts Centre’s courtyard, for very limited audiences with safety precautions in place, and theatre performances with limited capacity, if permitted, in the centre.

photo - Ted Littlemore — Ted Littlemore *(photo by Wendy D Photography)*

Commissioned by dance artist Alexis Fletcher, Tuning will be performed by Fletcher, artist in residence at Ballet BC, and Ted Littlemore, aka Mila Dramatic in the drag community. The new work focuses on how people tune to one another. In Tuning, the performers create a live sonic and physical atmosphere using their voices to amplify the conversations of the body.

Festival producer Donna Spencer also announced seven DOTE-commissioned projects, which will première at this year’s festival. Companies/choreographers presenting commissioned works include Ouro Collective, Raven Spirit Dance, Billy Marchenski, Immigrant Lessons, Generous Mess, Rob Kitsos and Meredith Kalaman. “We were thrilled to have offered this incentive, knowing that these commissions have enabled artists to keep creating new work during this challenging time for all,” said Spencer.

Keep an eye on dancingontheedge.org for performance and ticket updates.

– Courtesy Dancing on the Edge

Interactive history tour

To find out more about the history of Made in BC – Dance on Tour and its network of artists, visitors to madeinbc.org/history-project just have to hover over one of the images displayed and click on it. (screenshot)

It is easy, in Metro Vancouver, to take certain things for granted, such as access to live theatre, music and dance. But the pandemic, with its limits on social gatherings, has given urbanites an inkling of what smaller communities regularly experience. The relative scarcity of live performance in places like Prince George and Revelstoke is one reason that Made in BC – Dance on Tour was created in 2006. It is unfortunate, then, that Made in BC’s 15th anniversary falls in a time of travel and other restrictions. But that hasn’t stopped the organization from celebrating, and innovatively so.

Made in BC (MiBC) has collaborated with artist and graphic recorder Adriana Contreras to create an interactive online illustrated map “offering viewers the opportunity to take a visual and audio trip through the last 15 years of work, celebrating the numerous artists, presenters and community members that have been a part of this history.” Among these artists are Jewish community members Tara Cheyenne Friedenberg (Tara Cheyenne Performance), Amber Funk Barton (the.response), Naomi Brand (All Bodies Dance Project) and Vanessa Goodman (Action at a Distance).

“Especially in an art form that is so ephemeral, documentation is important not only for our personal memories, but for the history of the organizations and communities that we work with,” Brand told the Independent. “These kinds of records are really valuable for us to learn from what has happened before and to remember the accomplishments and discoveries that came before us. The map is a beautiful and creative way to write our history in the present while it is still relatively fresh in the bodies and memories of those who participated in it.

She added, “The field of contemporary dance in Canada is small enough that most of us are connected through a few degrees of separation that can be traced through our lineage of teachers, mentors and collaborators…. The map project represents all of that visually across the geography of this province.”

Cheyenne Friedenberg also spoke about the ephemeral, or temporary, nature of dance, making it hard to keep track of accomplishments.

“We spend much of our time and energy justifying and fighting for our art and art-making, it’s no wonder many of us don’t take time to reflect or celebrate the wake behind the boat,” she said. “It’s also very important to take note of what artists have brought to communities around the province and how these communities have influenced the art and the art makers. We are an ecosystem and it benefits all of us to appreciate how we have grown and developed as an artistic community. I know my work has been greatly influenced by my relationships across the province. I know folks who started making their own work after seeing a show or taking a workshop. I think part of the reason I’m still making work is because I feel part of this artistic ecosystem that is ever-evolving.”

Made in BC statistics show that, over the past 15 years, MiBC “has provided opportunities for over 50 dance companies incorporating over 200 dance artists to tour their work, reaching over 20,000 people around the province. And over 30,000 people have participated in and experienced the joy of other community-engaged dance activities, beyond the theatre.”

“MiBC as a network is about fostering relationships between artists, presenters, audiences and new communities,” said Brand. “As dance artists, we work with living, breathing, feeling people as our material (as opposed to clay, or an instrument, or paint brushes). This human-to-human, personal interaction is so important to what we do in the studio, as well as through emails and Zoom these days. We’re lucky to have an organization like MiBC that supports artists and has brought so many incredible experiences to communities across the province.”

Brand recalled one experience in particular. “In 2017,” she said, “my colleague Sarah Lapp and I did a residency through Made in BC at the Rotary Centre for the Arts (RCA) in Kelowna. It was our first experience touring with our company All Bodies Dance Project and bringing our artistic practice to a new community. We met such beautiful, courageous and lovely participants in the weeklong workshop and learned a lot about ourselves through sharing what we do with a new community. That residency had a huge impact on Sarah, who actually ended up relocating to Kelowna a year or so later, and beginning an integrated dance project in partnership with RCA with a collaborator that she met during that residency.”

Cheyenne Friedenberg first toured with MiBC in 2009, when the organization selected her first full-length solo work, bANGER, to tour along with Day Helesic’s piece Surge.

“I had toured a lot in the U.S., across Canada and Europe, but this was my first real experience taking my own work around the province,” said Cheyenne Friedenberg. “I was, and continue to be, very interested in connecting with the land and the people closer to home. Why have we as a culture believed touring Europe is more prestigious than touring the West Coast? It’s not. Since that first tour in 2009, I have toured, taught, created and learned around B.C. over half a dozen times and I can’t wait to get back out here!”

She said it was hard to pick just one MiBC experience that was especially impactful or memorable, so she offered two:

“1) Smithers, 2012: after seeing my solo Goggles, a couple (who are now my friends) were so taken by seeing me and my family (who I tour with) taking questions and, probably, breast-feeding after the show, that they decided to have a baby and continue to make art.

“2) Dolly Alfredson, a Wet’suwet’en language speaker and teacher shared many post-show thoughts with me, all in Wet’suwet’en. It felt very special. This was after my show I can’t remember the word for ‘ I can’t remember,’ in 2018.”

Contreras, who collaborated with MiBC in collecting and communicating these types of recollections from the dance artists, said her favourite part of the process was listening to all the stories, “getting a glimpse at a special moment in time from the many artists I had the pleasure to work with in part.”

It was Jane Gabriels, executive director of MiBC, who invited Contreras – in spring of 2020 – to be part of the 15th anniversary history project.

“I had just left my full-time job as director of programming and communications with New Performance Works Society to work as an independent graphic recorder, illustrator and designer,” Contreras told the Independent. “This was also around the time that COVID-19 was declared a pandemic and the province went on lockdown. Needless to say, this project was a bright light in a very uncertain moment.”

On the project, she worked closely with Gabriels, as well as Debora Gordon, MiBC manager of community dance connectors, statistics and promotions, and Zahra Shahab, a dance artist and choreographer who was the 2019 creative residency artist at MiBC.

“The process was one of collective discovery and experimentation,” said Contreras. “I knew that MiBC has a vast archive documenting the work of all the artists that have been part of its programs, but I wanted to go back to the essence, the aspect that makes MiBC so unique, the unifying element of supporting B.C.-based artists to present their work and connect with communities throughout the province; bring contemporary dance to audiences that don’t often get to experience it.

“During my time as an arts administrator supporting dance artists,” she continued, “I had heard many anecdotes and memorable stories that happened during MiBC tours. Many of these occurred in the theatre, others in the liminal space, on the road. Many others in everyday occurrences that nurtured community. We decided that these were the stories we wanted to highlight.

“MiBC reached out to artists and asked if they wanted to share their stories, which were audio-recorded to be featured on the website. We then chose an object to represent each of the stories, and those are the elements you see in the drawing, one for each artist or collective.”

She added, “Creating this work reminded me why I love the performing arts so much, and I can’t wait to sit in a theatre and experience live dance, theatre and music again.”

In the meantime, dance enthusiasts can take a virtual audiovisual trip through the province at madeinbc.org/history-project.

Local Yom Ha’atzmaut

Hagit Yaso, who was part of Metro Vancouver’s celebration of Yom Ha’atzmaut in 2014, is among the Israeli performers who will be joining the online event this year. (photo from hagityaso.com/en/home)

The Jewish Federation of Greater Vancouver and its 46 community partners, which includes the Jewish Independent, will be marking Israel’s 73rd birthday with a virtual celebration April 14 at 7:30 p.m. This year’s special hour-long event will include performances by both Israeli and local artists, as well as some surprises.

For the past 17 years, Federation has joined forces with Eti Lam, a Tel Aviv producer who specializes in bringing Israeli artists to Jewish communities around the world.

“Producing an event like Israel’s Independence Day requires lots of work and long-term collaboration between the community and myself,” Lam told the Independent. “It usually starts with searching for the right artist that is happy to come to Vancouver on this special date, building a suitable show, rehearsing it back in Israel, and many more activities. And, as with everything, the price should be right to the budget.”

This can take time, she confessed. “Some years, it took the Federation team and me a whole year to find and deliver the right show.”

With the pandemic, things are even more challenging, but the situation also offers a unique opportunity.

“Considering the COVID-19 limitations, we couldn’t meet in the concert hall,” said Lam. “Still, the show must go on. We approached multiple artists that performed in Vancouver in the past and the responses were amazing, so we’ll get to celebrate together this year, too. The performance will be broadcast online, without compromising the uniqueness and festivity of Israel’s Independence Day.”

Lam lauded the Vancouver audience, calling it “truly one of a kind, special and unique.”

“Every year,” she said, “1,200 people gathered together to celebrate Israel’s Independence Day with an Israeli artist. Being able to produce this event year over year for the last 17 years has been a great privilege. It’s been successful thanks to the close relationship with the incredible people in the Federation and in the community. Whenever I arrived in Vancouver, I felt that I had returned to celebrate with a close group of my friends, part of a warm and loving community. I’d like to take this opportunity to thank all the Federation and community members for their help, support and partnership over the years.”

Yoni Rechter was part of Metro Vancouver’s 2019 celebration of Yom Ha’atzmaut, and he will be part of this year’s online event, as well. *(photo by Gilad Avidan)*

The evening lineup is set to include various dance groups and artists, as well as students from Richmond Jewish Day School (RJDS) and Vancouver Talmud Torah singing the Canadian and Israeli national anthems. Local talents Orr Chadash, Orr Atid, Duo Orr and Grade 6 dancers from RJDS will join Israeli artists Yoni Rechter, Nurit Galron, Hagit Yaso, Micha Bitton and Shlomit Aharon for the broadcast. This year’s event will also feature a community Koolulam-style video, a version of “Bashana Haba’ah” in which different members of the community sing a line, a verse or the chorus.

Yom Ha’atzmaut celebrations go back a long way in Vancouver, though prior to 2002 they were done at a slightly smaller scale, with the exception of Israel’s 50th anniversary in 1998 at the Orpheum. This year, because a plethora of virtual (and worldwide) programs, events and webinars have led to “Zoom fatigue,” Federation decided to “go local” and highlight community talents.

To even localize the Israeli component, Federation invited the Israeli artists, who have performed here before in person on Yom Ha’atzmaut, to dedicate a song to the community. Additionally, organizers have promised a surprise that they feel confident will go down well with the community.

Emceeing this year’s event will be JCC sports coordinator Kyle Berger, who also is a stand-up comedian, and King David High School counselor Lu Winters.

“Once we realized COVID restrictions weren’t going to allow Seth Rogen and Sarah Silverman to do it, we were hoping we’d be asked,” said Berger. “The fact that it’ll be on Zoom means they’ll be able to make us look fitter and younger than we actually are, which is another awesome perk.”

Berger and Winters, along with a handful of staff and crew, will be filming and streaming the show from a production studio in Burnaby. “But, when we close our eyes, we will be live from Israel,” said Berger.

“Thankfully, we will both be there doing the show together and will be able to feed off of each other’s energy and nerves. Of course, we will still be 6.13 feet apart while filming,” assured Berger, who has worked with Winters before, as co-delegation heads for the JCC Maccabi Games.

He vowed that “everyone should expect an incredibly fun evening celebrating our community’s special connection with Israel, especially our unique relationship with our partnership region in the Galilee Panhandle. Think Dick Clark’s New Year’s Rockin’ Eve meets the Academy Awards – produced by the same number of Jews, but with less famous hosts.”

Nava, Omnitsky and the Perfect Bite are all offering special Yom Ha’atzmaut menus for April 14. Register at jewishvancouver.com/yh2021 to join the celebration.

Also on April 14, the Jewish Federation of Victoria and Vancouver Island will be hosting a small program via Zoom with an Israeli-themed picnic. Registrants will be able to pick up their meal (drive-through) and enjoy it while participating in the Zoom program. To register, send an email to [email protected].

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Dance-opera closer to final

Ted Littlemore is one of seven dancers in the latest iteration of Idan Cohen’s Orfeo ed Euridice, which will be available online April 6-13. (photo by Flick Harrison)

The first article the Jewish Independent published about choreographer and opera director Idan Cohen was about his reimagining of Christoph Willibald Gluck’s opera Orfeo ed Euridice. Much progress has been made in the few years since, and excerpts from the contemporary dance work will be streaming on demand April 6-13.

Cohen was a relatively recent arrival from Israel back in 2018. As artistic director of Ne. Sans Opera and Dance, which he established here in 2017, he has become a prominent part of the Vancouver arts scene. He is currently artist-in-residence at the Dance Centre, which describes Cohen’s approach to this 18th-century opera as one that interprets

“Orpheus not as a god, but as an artist – a human who looks at the complex and sometimes violent history of Western, classical opera and dance with eyes wide open, the dancing body serving as a living example of human strength and fragility.”

In the myth, poet and musician Orfeo mourns the death of his wife, Euridice, and tries to get her back from the Underworld. It is an effort fraught with challenges, not unlike creating a new artistic work.

“Staging an opera is a monumental task, and it is really exciting to have an audience who has been following this production from its inception,” Cohen told the Independent. “Alongside the Dance Centre’s residency, we were given a grant from the Canada Council for the Arts, through the Piercey family – the Sheila Kathleen Piercey Fund – which enabled us to continue and present this final phase of the research, leading to the full production in 2022.

“For the past few months,” he said, “I have been rehearsing with Leslie Dala as the music director and with seven incredible dancers and five opera singers. We are presenting almost 40 minutes of a piano reduction of the score, played live by Leslie, and the singers, as a dance-opera. So you’ll get to see and listen to a live opera that is also a dance performance.”

In 2019, Ne. Sans presented Trionfi Amore, as a part of the research for Orfeo ed Euridice. That production featured Ted Littlemore, Kate Franklin and Jeremy O’Neill. For this April’s production, they are joined by dancers Hana Rutka, Rachel Meyer, Aiden Cass and Stephanie Cyr.

“The wonderful counter-tenor Shane Hanson is singing Orfeo and the chorus singers are Heather Pawsey, Tyler Simpson, Heather Molloy and William Grossman,” said Cohen. Costume designer and stylist is Evan Clayton, while Littlemore pulls double duty – not only performing, but in charge of the makeup and masks.

The number of people involved now brings its own challenges, given the continuing pandemic.

“The Dance Centre’s residency enabled us to rehearse in large spaces that allowed for our relatively big group to remain socially distanced at all times,” said Cohen. “Following COVID-19 protocols meant that we needed to be wearing masks and that the performers could not touch. I tried to look at these not as obstacles but as creative opportunities and I am very proud of what we’ve managed to achieve.”

Ever the one to look on the bright side of things, Cohen added, “It was wonderful to gather musicians and dancers and create. There’s nothing quite like it, and I hope that the result will be as pleasurable to our audience as it was to us.”

The April streaming, which will have been pre-recorded, includes a discussion with Cohen. Tickets are on a sliding scale, and can be purchased from thedancecentre.ca/event/idan-cohen.

Fairy tales still relevant

Jack Zipes gives the lecture Resurrecting Dead Fairy Tales on Facebook Feb. 17. (photo from MISCELLANEOUS Productions)

Some fairy tales are timeless in that they still have lessons to impart. For example, The Pied Piper, a story dating back to the Middle Ages, “is a tale of plague, greed, betrayal, conformity/confinement with allusions to child abuse,” explained Elaine Carol, co-founder and artistic director of MISCELLANEOUS Productions.

MISCELLANEOUS’s Plague project will have participating youth, along with professional artists, interpreting the Brothers Grimm’s The Pied Piper “from an intersectional, anti-racist, anti-oppression, queer feminist perspective.” In preparation, Carol told the Independent, “we have been reading our way through the mountain of brilliant writing by Jack Zipes, asking him many questions – even our film editor of Resurrecting Dead Fairy Tales is now reading two of his hundred or more published books.”

image - In Yussuf the Ostrich, political caricaturist Emery Kelen tells the story of a young ostrich who helps defeat the Nazis in northern Africa during the Second World War. — In Yussuf the Ostrich, political caricaturist Emery Kelen tells the story of a young ostrich who helps defeat the Nazis in northern Africa during the Second World War.

Zipes’ recorded Facebook Watch talk, Resurrecting Dead Fairy Tales, will be streamed Feb. 17, followed by a live Q&A with Zipes. Some of the lecture will be part of the documentary being created about the youth-centred theatre project, which will include various workshops and an eventual stage production at the Scotiabank Dance Centre in 2022.

“I have also been working with young professional artists Tiffany Yang, who was a youth in our Monsters production, national and international tours, and Julia Farry, our production assistant/outreach worker,” said Carol. “Tiffany has translated four indigenous Taiwanese folk tales that are stories of plague – mostly in coastal communities, including animal wonder tales of fantastical fishes and other fascinating narratives. Julia has translated three Japanese folk tales focusing on plagues. There are many plague stories that we still hope to collect, including the facts of disease spread by European settlers to the Indigenous people of Turtle Island, as research materials for our project-in-development.

“We are currently collecting these tales to bring to our youth cast after it is deemed safe to work with them in person,” Carol continued, “as we will be using theatre, hip hop/streetdance, contemporary dance, marimba and world music, urban music, performance art, etc., to co-create a new play. This play will be used as a vehicle for the youth to discuss their own experiences of living in a world pandemic.”

Zipes’ lecture was filmed in Minneapolis by MISCELLANEOUS Productions’ professionals. The professor emeritus of German and comparative literature at the University of Minnesota is an expert on folklore and fairy tales. He is a storyteller himself and the founder of the publishing house Little Mole and Honey Bear.

“My parents and grandmother always told me tales of different kinds,” Zipes told the Independent. “When I began studying for a PhD at Columbia University, I wrote my dissertation on ‘The Great Refusal: Studies of the German and American Romantics in the 19th Century.’ My interest in fairy tales grew as I realized that these imaginary tales hold more truth than the so-called realistic future. And I also was angered by Bruno Bettelheim’s book about fairy tales in which he imposed a Freudian interpretation on readers. Since then, I have been trying to reveal how relevant fairy tales are to our lives.”

image - One of the fairy tales Jack Zipes has resurrected is Keedle, The Great, first published in 1940 — One of the fairy tales Jack Zipes has resurrected is Keedle, The Great, first published in 1940.

The examples given in the lecture’s press release are from two books Zipes has translated and published: “For example, in Yussuf the Ostrich, well-known political caricaturist Emery Kelen tells the story of a young ostrich who helps defeat the Nazis in northern Africa during World War II. In Keedle, The Great, first published in 1940, Deirdre and William Conselman Jr. sought to give Americans hope that the world can overcome dictatorships. To the authors, the title character Keedle represented more than Hitler, but all dictators then and now.”

Zipes said, “I don’t think that my being Jewish accounts for my interest in fairy tales. My Jewishness makes me a bit meshuggah, and this is why I try to think out of the box and have developed a storytelling program for children without sanitizing the fairy tales. The best of folk and fairy tales have never been sanitized, and I use tales to tell so that children will be enabled to tell their own miraculous tales.”

“My Jewishness is complex,” said Carol, “because I am mixed-race Sephardic-Romani and Ashkenazi. One of one million reasons I love Jack Zipes and think his work is crucial is his lucid critique of the Disneyfication of fairy tales and folklore.”

Resurrecting Dead Fairy Tales starts at 5pm on Feb. 17 and is intended for older youth and adult audiences. On the day and time, click here for link to watch.

Graveyards and Gardens premières

(photo from Music on Main)

On Jan. 28 and 29, Music on Main hosts the world première livestream of Graveyards and Gardens, co-created and co-produced by Caroline Shaw (composer and recorded sound) and Vanessa Goodman (choreographer). A PuSh Festival Partner Presentation, the performance takes place among 400 feet of orange sound cables and an arrangement of plants – nature and technology being another synthesis the artists explore. Things begin with a long passage featuring an array of sounds – some come from tape decks, some from a record player, some from old Edison wax recordings – and this production is, among other things, a powerful display of the creative process.

New York-based vocalist, violinist, composer and producer Shaw, the 2013 Pulitzer Prize for Music winner, was Music on Main’s composer-in-residence from 2015-2016. Vancouver choreographer Goodman is the artistic director of Action at a Distance Dance Society.

There are 4:30 p.m. and 7:30 p.m. offerings of Graveyards and Gardens. Tickets ($15) are on sale at showpass.com/graveyards-and-gardens.