CALGARY’S RESOURCE FOR ALL THINGS DANCE

Dance \ aUGUST 2014

Studios

Calgary dancer succeeds on the international level

SeanCheesman

danceHow to choose theright genre, program

A dancer’s bodyStart early to stay healthy

Calgary’s dance scenePlenty of opportunity

Promoted by Showtime Promotions

27 YEARS OF EXCE L L ENCE IN DANCE , 1987 -2014

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JEUNESSE CLASSIQUE BALLETUmran Sumen Artistic Director

Under the direction of Artistic DirectorEdmund Stripe, the School of AlbertaBallet is western Canada’s leadingprofessional dance school. Deliveringfirst-rate, superb training, studentsare equipped with the dance, life andacademic skills to launch successfulcareers.

• World-Class Teachers• Open & Professional Divisions• Ballet, Contemporary,

Body Conditioning and more• Performance Opportunities with

Alberta Ballet

Come dance with the best.For more information, visitschoolofalbertaballet.com

The School of Alberta BalletTHE OFFICIAL TRAINING CENTRE OF ALBERTA BALLET

Dance was produced by the Calgary Herald’s Special Projects department in collaboration with Showtime Promotions to promote awareness of dance for commercial purposes. The Calgary Herald’s editorial department had no involvement in the creation of this content.

Co-ordinator & Designer: Charlene Kolesnik

WHAT’S INSIDECALGARY’S RESOURCE FOR ALL THINGS DANCE

DANCE \ AUGUST 2014

Costumes

Alberta dancer succeeds in the international market

SeanCheesman

dance

Calgary’s dance sceneA dancer’s body

Cover: Left: Sawyer Nelson, 8, member of Evolutions School of Dance, Middle: Taylor Yanke, 11, member of Jeunesse Classique Ballet, and student at International School of Ballet. Photographer: Adrian Shellard, Costumes: Provided by MUGE Performance Wear.Right: Sean Cheesman, supplied by himself

4 6 7 8 9 10 11Prevailing after the flood

Profile: Sean Cheesman

The elements of dance

How to pick a studio, genre

Profile: Michael Ward

Calgary’s dance scene

A dancer’s body health

4 \ DANCE \ AUGUST 2014

— thanks to strong support from local communitiesDance Tech weathers the flood

Dance can bring a community to-gether. That’s what happened for Dance Tech dance studio in High River.

The studio has come back stronger than ever from last year’s devastating flood.

“The flood really reshaped the way our company worked together,” says Dance Tech owner and director Amanda Messner.

“In the demolition and rebuild, so many people showed up to help, it gave us so much strength. We always considered ourselves a really strong team. The flood brought us together and allowed us to become more of a family — it’s been our Dance Tech family.”

Located near downtown High River, Dance Tech’s space was destroyed in the June 2013 flood. They had to rebuild from scratch, and everyone associated with Dance Tech pitched in.

Volunteers worked all last summer and into early fall, remediating and drying out the stu-dio space. When that was done, new dance floors were installed.

“We were really lucky to get back into the existing Dance Tech space. This year, we’ll be getting mirrors and barres, another step to having a fully functioning studio,” says

Alison Laycraft, media rep on the Dance Tech dance council, a parent council with the primary focus of supporting competition dancers.

Dance Tech, which celebrated its 10th anniversary this past June, offers classes in tap, jazz, ballet, lyrical, contemporary, modern, hip-hop and acro for ages three to late teens; as well as adult classes.

“We are really fortunate to have a studio the calibre of Dance Tech in High River. There are accredited teachers and they do a lot of competition,” Laycraft says.

Coming back from the flood, Dance Tech received a great deal of support from dance studios and dance-wear stores from Sylvan Lake to Lethbridge, with donations of dance shoes and clothes, as well as money.

Help also came from Alaine Kowal, the parent of two Dance Tech students, who wrote a children’s picture book, The Little Dance Teacher, with illustrations by Longview artist Matts Zoumer.

All profits from the book will go to dance families hit hard by the flood so their children can continue to take part.

“It’s all about what you do when a disaster

hits,” Laycraft says of the story.Published by Routes Media in High River,

the book if for sale at Dance Tech, Pixie Hollow Bookstore in High River, and online at routesmedia.com (click the store tab).

For both students and parents, Dance Tech

is “a place where they feel safe and secure and loved.”

“Having that restoration was a huge thing for those students and families. It has been awe-some, having the kids being able to go back to dance,” says Laycraft.

BY: Jacqueline Louie

Piper Fitzgerald, 11, describes in detail the red costume she wore for her jazz dance solo earlier this year, with its

multitude of rhinestones and cutouts.But her enthusiasm drops when it comes

to the subject of false eyelashes, some-thing she says she wears on stage to make her eyes “pop.”

“It’s, like, annoying to put them on,” she says, expressing disgust with the glue used to fasten them to her lash lines.

Fake lashes notwithstanding, Fitzgerald says dancing makes her “happy inside.”

“I think it just takes my mind off of things if I’m having a fight with my friend or some-thing,” she adds.

The youngster, who enters Grade 6 in September, has been studying dance at Airdrie’s Star Bound Dance Company since

she was three years old. Her sister Riley, 13, also dances.

“We were looking for something that would be challenging, something they would find a passion for as they grew up,” says the girls’ mother, Adrienne Fitzgerald.

The elder Fitzgerald says having two daughters in dance is a significant time commitment, but it’s one she doesn’t mind.

“When you see how much fun they’re having, and you realize what they’re building on, it does seem worth it,” she says.

In fact, she says her daughters enter into a sort of “withdrawal” once classes and competitions wrap for the summer.

However, the girls still manage to nurture their dancing souls during July and August by practising acrobatic moves on the trampoline.

“They’re always moving,” says Adrienne. “Our mom says, ‘Keep your feet still!’ But

we can’t sit still, because it’s so fun… We’re always tapping our feet,” Piper giggles.

While the youngest Fitzgerald admits her busy dance schedule can make it difficult to squeeze in her homework, she says dancing helps her at school.

“We had to do a presentation in front of the class in Grade 4. I had done a solo that year, and won a big trophy, and that gave me a lot of confidence. I had to do the presentation and I wasn’t scared,” she recalls.

While the youngster hasn’t decided upon a career path yet, becoming a dance teacher is definitely on the table.

“She just needs to be a dancer,” says mom.

“Why would I want to stop if I love it so much?” her daughter chimes in.

BY: Kathleen Renne

The benefits of danceYoungster says performing boosts her overall confidence

dance

Survival

Piper Fitzgerald, 11, who admits she has trouble sitting still, says dancing makes her “happy inside.”

Dance Tech owner and director Amanda Messner keeps her sense of humour after last year’s flood disaster.

dancePromotion

Fostering fun & passionin all things

dance

Donna and Ian Burridge, directors of Showtime Promotions.

Showtime PromotionsWhether a dream job or passionate hobby,

dance is for people of all ages and abilities, says Donna Burridge, a director of Showtime

Promotions, a company based in Kelowna, B.C., that supports and promotes dancers and the dance industry in Western Canada.

“It’s healthy. It’s good for mind, heart and soul,” says Burridge, who encourages everyone to participate in dance.

Dance is “not necessarily about natural ability,” she adds. “It’s a really great outlet emotionally for people to express themselves through creative movement. It’s also an excellent discipline, especially for young dancers learning to follow direction and take corrections, and it introduces them to music and movement.”

Dance can be a lifelong activity. In the past, dancers typically stopped dancing after high school, unless they were planning to go on to a professional career. Now, however, dancers are staying in the studios and training well into their 60s; and there are dancers in their late 80s who are still learning and performing.

Dance is also a good activity for people with devel-opmental disabilities who can get involved in every-thing from classes, to performances and competitions.

Promoting dancers is clearly Burridge’s passion.“Our focus is to mentor the dancers at all ages and all

levels, thus introducing them to a dance community that supports them,” says Burridge, who established Showtime Promotions 30 years ago, and started invitational dance festivals and competitions with professional adjudicators in which dancers compete for prizes, medals, trophies,

cash awards and encouragement.Festivals encompass everything from jazz, hip hop, tap,

lyrical and ballet, to musical theatre, adult categories and ethnic dancing including Irish, Scottish and South Asian.

In addition to running dance festivals throughout Western Canada, Showtime Promotions is a strong sup-porter of dancers in every way, helping them pursue their dreams. In the past 10 years, the company has provided more than $1 million in cash and awards to dancers in Western Canada.

Burridge is devoted to promoting dance to a wider community. To this end, she co-founded the Canadian Performing Arts Foundation, a foundation created to support dance and the performing arts in Canada. CPAF received $50,000 from Showtime Promotions to get it off the ground.

Any donations made to CPAF will go directly to the dancers, Burridge says.

“Anything donated will be passed directly on to local dancers to help defray their costs and hopefully providing more training. We need funding and support for Canadian dancers so they can compete in the marketplace, both here in Canada and internationally, predominantly in the U.S.”

Funds are also needed at the professional level for dance teachers and choreographers, adds Burridge, who emphasizes there is a great need for supporters and patrons of the arts. To this end, she encourages readers to check out local dance shows, recitals and competitions. There is amazing and inspiring talent to see!

DANCE \ AUGUST 2014 \ 5

When Sean Cheesman was a high school student at Calgary’s Crescent Heights

school, he would watch the music videos from Michael Jackson’s Thriller album and mimic the moves in his living room.

“I would watch the videos and just dream about starring in one,” says Cheesman. “I never thought it would come true.”

A figure skater since he was very young, Cheesman’s love for dance was sparked at age nine when he enrolled in tap, ballet and funk jazz. At just 17, he moved to New York to attend the Alvin Ailey Dance Centre to pursue his dream of dancing.

“It was really exciting,” he says. “Being in New York, it was really the first time I was around a lot of male dancers. And because the school was predominately black, it was the first time I was around black, male dancers. Growing up in Calgary, I was usually the only black dancer.”

Following his dream wasn’t always easy.

“I was definitely teased and bullied,” he says. “Not only was I a dancer, but I was also a figure skater. But you know what they say, ‘Suc-cess is the best revenge.’

“It made me a strong person. You have to have a strong personality to be in this business. And those people who teased me back then are the ones who ask me now what Michael Jackson was like.”

He went from dancing in his living room to dancing backup for Michael Jackson in his music video for the song Bad — Cheesman’s first big break after moving from Calgary.

“That was a really amazing experi-ence,” says Cheesman.

“It’s still up there as one of the best

things I have ever done.”And Cheesman has done a lot.One highlight was touring with Janet

Jackson as a choreographer and dancer. It was this experience that led him to one of his greatest gigs — choreographing siblings Janet and Michael in the video for Scream.

“I look back at that experience and it was like history in the making,” he says. “Michael and Janet never did anything together. One day, being in rehearsal, I just looked around and thought someone needs to pinch me. Did I just choreograph a step for Michael Jackson?”

That was far from the only pinch-worthy moment Cheesman experienced in his career, others included choreographing the Dia-monds and Pearls tour for Prince as well as tours for Faith Hill, No Angels and, most recently, he worked on advertising campaigns for Nike and Bacardi.

He also appeared in and choreographed the dance sequences in the Warner Brothers film The Body-guard starring Whit-ney Houston as well as the NBC television series Guys Next Door, the Soul Train Awards and a Janet Jackson performance on Saturday Night Live.

Currently, Cheesman is working on the American version of So You Think

You Can Dance as well as starting his own production company, Mama’s Boys.

And the people by his side help-ing him accomplish it all? His assistants he has known since growing up in Calgary.

“Calgary has some of the largest dance schools per capita in North America,” he says proudly.

“We have amazing dancers, studios and teachers in Calgary. People considering a career in dance should know that they can be a Calgary Stampeder and be a dance star. If you love it, go for it.”

dance

Profile

6 \ DANCE \ AUGUST 2014

BY: Rachel Naud

From Calgary to the Big AppleSean Cheesman lists working with

Michael Jackson among his highlights

403-921-9757www.dancethroughlife.ca

• Adult Classesfrom Beginner toAdvanced

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dance

Elements

For Julie England, to see a dance come to life on the stage is nothing short of pure magic.

It’s always been this way for the England-born choreographer, who moved to Calgary 24 years ago after completing her training at the London College of Dance.

Although she trained extensively in almost every discipline (ballet, tap, jazz, modern, national, musical theatre, ballroom and Latin dance) and received all graded medals in the syllabi, it was the art of choreog-raphy that she felt most drawn to.

“From an early age, choreography always came naturally to me,” she says of the start of her now profes-sional career. “My first dance teacher, Mavis Burrows, told me I would be too small to dance professionally, but could have a successful career in choreography. I remember sitting in the theatre at countless rehearsals when I was younger and being fascinated by the cre-ative process behind the shows coming together.”

Upon finishing her training, England accepted the director position with Showtime Promotions and crossed the Atlantic, choosing Alberta over Ontario based on the allure of the Rocky Mountain lifestyle.

“They still take my breath away,” she says. England credits those early years in Alberta, and

more specifically Showtime’s founders, Donna and Ian Burridge, for teaching her everything she knows about the dance business.

“They were both great mentors and became my family away from home,” she explains. “They pushed me to be the best that I could be.”

As it turns out, England’s best is deeply creative, vi-sually striking choreography in genres ranging from clas-sical ballet to, most recently, gymnastics floor routines. Her best has also earned her many accolades along the way, including the Cathy Wade Ensemble Award in Division II at the Dance under the Stars Choreogra-phy Festival in Palm Desert, Calif.

“I like to think I bring unique and physically demand-ing choreography together with thought-provoking costuming and intriguing staging,” England says.

These days, England’s work as a choreographer, dance instructor and adjudicator takes her across Canada. She choreographs between 50 and 60 pieces a year in many genres.

“I like to be challenged by all the different genres — to be able to take all the aspects of one genre and work it into another, resulting in more unique pieces.”

BY: Meghan Jessiman

Drawn to choreography

If you’ve ever been moved by the beauty

of ballet, you know that dance evokes emotions for spectators and

dancers alike.While to the outside eye dance may

look like a series of movements timed to a beat, it is far more.

“Dance is not only an individual art/sport; it is shared with others,” says Steph-anie Knowler, dance school director at Calgary’s Evolutions School of Dance.

“Not only is it shared with other dancers or choreographers, it is shared with any-

one who watches. Building relationships is such an integral part of dance.”To build those relationships and captivate

the audience, it’s essential that dancers have an intimate knowledge of their

bodies’ physical capabilities and an understanding of the physics of movement.

A comprehensive knowl-edge of the integrity of the

steps such as phrasing, tempo and aesthetic awareness are

part of a dancer’s vocabulary.“The body is the dancer’s

instrument,” adds Umran Sumen, artistic director of Jeunesse Classique Ballet in Calgary.

“It is like the violin to a musician, the voice to a singer and must be finely tuned and maintained.

“A deep understanding and respect for one’s instrument is paramount. The space a dancer inhabits becomes a vital part of the movements and is interactive with the body,” Sumen says.

“A dancer moving through space can be compared to the positive and negative aspects of a drawing or painting, both are a vibrant and necessary.”

One of the dance philosophies taught at Jeunesse Classique is body and space, action and energy. The art of classical ballet involves a highly specialized training based upon a purity of physical development combined with intense dedication and personal discipline.

“At Jeunesse Classique, technique and correct physical development are balanced with pure esthetic vision, emphasizing the joy, beauty and tradition of classical ballet,” says Sumen.

At Evolutions School of Dance, the dance con-cepts of body and space are taught in developmentally appropriate ways since many of its students are under the age of 10.

“We guide our students to understand the many ways in which we can use our bodies, not only for specific movements, but also how to convey a certain message or meaning,” says Knowler.

“Through explicit instruction as well as creative movement, our dancers are taught the mechan-ics of dance, but also encouraged to be individuals and to inject their own personal flair into dance.”

More than a beat

Elements of dance include emotion, awareness, energyBY: Rachel Naud

DANCE \ AUGUST 2014 \ 7

Julie England is up for the challenge of working with many genres.

Thinkstock image

If you’re interested in starting dance lessons — for you or your child — there are many different genres to try.“Sometimes kids already know what they’re

interested in, which is a great place to start,” says Melissa Kastelic, director of Flexpointe Studios in Edmonton.

Otherwise, for younger children, a combina-tion class that covers different dance styles is a good way to introduce them. A dance camp will also allow them to try different genres.

Before choosing, consider the prospective dance student’s strengths and interests, says Melissa Klassen, founder of Calgary-based Acrobatique AcroDance. For instance, is the dancer attracted to slow and methodical, or a fast and upbeat expression of the body?

“If a student is interested in including tricks and flips to their dancing, they would love the art of acrodance,” Klassen says. “Students who add acrodance to their repertoire of classes add another dimension of flare, excitement and polish to their choreography.”

Look at what kind of music your child is inter-ested in, as well as how attentive he or she is.

“If they can focus on something for a little bit longer, definitely ballet would be great,” says Candice Mathewson, owner of Elite Dance Academy in Calgary.

“Ballet is slower moving than hip-hop, jazz or tap. But if kids like to be a little more stimu-lated, I would push for something like hip-hop or musical theatre, something that’s going to be a faster-paced class.”

Many studios now run combination classes for children ages three to six, such as tap and jazz, or ballet-tap.

“They are a good introductory class. We start all kids in the combo class and they branch out from there,” Mathewson says.

In terms of prerequisites for a professional career, the foundation of all dance is ballet, she says. So for those wanting to turn profes-sional, Mathewson recommends enrolling in a ballet class and going at least twice a week.

A good dance teacher can make all the difference for a student.

But the teacher is just one thing to consider when looking for the perfect dance studio. Here are some other tips.

For a student just starting as a recreational dancer, it’s important to choose a studio that will be easy to get to, says Candice Mathewson, owner of Elite Dance Academy, a Calgary company that teaches ballet, tap, jazz and hip-hop to students from age three to about 18.

Another important thing to watch for is a positive studio atmosphere.

“That covers everything from the first im-pression when you walk in, to the cleanliness of the studio, to how the staff addresses the parents and children,” Mathewson says.

“You want your child to feel comfortable in the space, that it’s a place where they can develop their self-confidence.”

Melissa Kastelic, director at Flexpointe Studios in Edmonton, suggests starting off by

looking at what the school’s overall philoso-phy is, and what kind of programming it offers.

“You need to take a look at whether a school’s teaching methods and goals would suit your child. You’ll also need to consider whether you want to enroll your child in a competitive or a recreational program,” Kastelic says.

The other big thing to consider, according to Kastelic, is what kind of qualifications, cer-tifications and experience the teachers have.

It’s important to choose an accredited school with certified instructors, agrees Melissa Klassen, founder of Acrobatique AcroDance, which certifies dance teachers across Canada and abroad to teach acro-dance, a genre that incorporates elements of gymnastics and jazz tricks and flips to complement dance choreography.

Certification ensures that dance teachers are trained to properly follow the curriculum and that they adhere to a nationally recognized system.

danceChoices

BY: Jacqueline Louie

Finding the perfect genreMany styles are available

BY: Jacqueline Louie

How to pick the right schoolExperts offer their advice

Thinkstock image

Thinkstock image

8 \ DANCE \ AUGUST 2014

A career in dance was not Michael Ward’s idea.

Call it fate, destiny, or perhaps the side-effect of having two older sisters en-rolled in dance and not being able to take the bus home alone.

Something intervened and made sure the then nine-year-old Ward crossed the thresh-old of Barrhead’s Danceworks and enrolled in its after-school jazz class.

“Originally, I wasn’t into the idea of being a dancer, but I was hooked after the first hour,” Ward says.

Flash forward 22 years and the now 31-year-old is hanging out in Los Angeles, dancing with the likes of Jennifer Lopez, Justin Bieber and working with big-name choreographers such as NAPPYTABS (also known as Tabitha and Napoleon Dumo) of So You Think You Can Dance fame.

Originally trained in the disciplines of jazz, ballet, tap, lyrical and contemporary, at age 16 Ward discovered hip-hop at the Groove Street Dance Convention in Edmonton and

began studying popping, locking and house dance, further expanding his versatility.

In 2004, Ward moved to Vancouver to join the Source Dance Company, run by Joanne Pesusich. This is when Ward believes he really began his professional training in all genres.

Ten years later, his resume includes a promo for the Academy Awards with Ellen DeGeneres, the 2010 Olympic opening ceremonies and, most recently, scratching an item off of his bucket list by working with choreographer/director Kenny Ortega on a new Disney Channel movie.

Despite all that, Ward still believes there’s room for improvement.

“The cool thing about dance is that there are always things you can improve on,” he says.

“Specifically, at the moment I am focusing most of my energy on my tap execution and choreography, as well as the freestyle elements of my hip-hop and funk-style dances.”

So where does Ward stand in the debate about dance being an art or a sport?

“For me personally, I have never really considered my dance a sport. Not to say that the training and dedication that goes into it is not equal to that of many sports,” he explains.

“Dance in general could be considered both an art form and a sport equally, but for my specific styles — and where my focus is — it’s more of an art form and a form of expression.”

Ward’s perspective makes sense considering his greatest dance strength has always been his showmanship.

“I have always seen myself as an entertainer or a character first. I would say stage presence, or the actual performance quality of my work, is where I stand out.”

Up next is more work at Universal Studios where he is part of a four-man tap show.

He’s also making his first foray into short films, playing Charlie Chaplin in a variety of modern-day scenarios.

Quite the character, indeed.

EVOLU

TIONS

dance

Profile

DANCE \ AUGUST 2014 \ 9

It only took an hour to get hookedMichael Ward on how dance changed his life

BY: Meghan Jessiman

Professional dancer Michael Ward.

SEPTEMBER 25-27403.245.4549albertaballet.com

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ALBERTA BALLET’S 2014–2015 SEASONARTISTIC DIRECTOR JEAN GRAND-MAÎTRE

DON QUIXOTESEPTEMBER 25-27, 2014

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Professional dancers may want to point their toes to Calgary for growth and opportunities. The city’s arts scene is

flourishing, which is good news for dancers looking for a chance in the spotlight.

“Calgary has a small, but mighty arts scene,” says Kimberley Cooper, artistic director with Decidedly Jazz Danceworks.

“We are lucky that some truly amazing artists, in all disciplines, have chosen to stay here, rather than flock to larger centres. There can be a lot of possibilities here and sometimes the plus of being a big fish in a small sea is more alluring than the opposite.”

Decidedly Jazz is comprised of seven to 12 dancers, depending on funding, program-ming and availability. Its 2014-15 season will see eight dancers performing in the two to three productions the boutique company puts on per year.

Dancers at the company range in age from 25 to 43 and have all danced profes-sionally before coming to Decidedly Jazz.

Dancers dreaming of a life in ballet are wise to look at opportunities at Alberta Ballet.

Alberta Ballet employs approximately 34

dancers, ranging in age from 19 to 33. With a presence in both Calgary and Edmonton, Alberta Ballet showcases 37 performances between the two cities in addition to Nutcracker shows in Ottawa and a handful of special events locally, nationally and internationally.

Alberta Ballet trains future dancers who join companies all over the world and also employs professional dancers.

“The youngest dancer we have had is 17 years old,” says artistic director Jean Grand-Maître, who adds the average age of a dancer in the company is 26. “Talent, artistry, attitude and technique are much larger indicators than paper degrees or age, though.”

Still, no matter what their age, Grand-Maître says Calgary should be on any wan-nabe dance’s radar.

“There is a fantastic outpouring of com-mitment and support for the arts in Alberta,” he says. “Our audiences are hungry for more art, they are growing constantly and more people see that there is a diversity in expres-sion throughout this province.”

Rebecca Lockyer has been taking her two young daughters to dance lessons since they were tiny.

Now 10 and 12, they still perform with many of the same girls they started with al-most a decade ago. And they love it. A lot.

So does Lockyer. In fact, a few years ago, she and a handful of other mothers signed up for adult classes at McDonald Wilson Dance Academy in northwest Calgary.

They’re now friends, she says. Real, sup-portive, helpful and kind friends. Not the mean, pushy parents seen on the Lifetime Television reality show Dance Moms.

“Not to divulge too much information, but I just had a significant birthday,” she says with a chuckle.

“A good half of the people that were at my birthday party were dance moms. They’re a big part of my life.”

And how. Several volunteer time at the Brentwood Community Gardens, located only steps away from the studio. One year, they organized a Halloween flash mob at the nearby Captain John Palliser School and then at a downtown department store.

Others volunteer to sew costumes,

organize fundraisers and help out at the annual recital.

“Dance moms are really supportive and invested in their children,” says Lockyer.

“They’re invested in the community where they’re located, the community at large, and in the dance community.”

That’s something Shana Eriksen, owner and instructor at McDonald Wilson, has also witnessed.

Eriksen, who has been dancing since she was two years old, says she has seen real-life examples of the uber-competitive behaviour portrayed on Dance Moms at various points in her career.

“I think the show is an exaggeration, but I also know this sort of thing does happen,” she says with a laugh. “There is a degree of competition between parents.”

But, she notes, most instructors encourage a kinder, healthier approach than what’s depicted on the show.

“We’re not saying competition is wrong. We’re just saying there’s a different way to go about it,” she says.

“It’s not about you competing against someone else. It’s about being the best you can be.”

dance

Scene BY: Shelly Boettcher

Dance moms a helpful bunch

BY: Rachel Naud

Calgary embraces performing arts

10 \ DANCE \ AUGUST 2014

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DANCE \ AUGUST 2014 \ 11

dance

Health

There’s no denying that dancers possess a grace, beauty and ease in all of their movements. Not just

the pirouettes and pliés they perform on stage, but even just walking through the supermarket.

Unfortunately, pushing those bodies to their physical limits on a daily basis also means dancers are at higher risk of both acute injuries and the long-term effects of overuse.

All that grace comes at a cost. Name-ly, potential issues with hips, knees and ankles, most commonly, though different bodies demonstrate misalignments and areas of weakness in different ways. But dedicating one’s life to dance doesn’t necessarily mean a lifetime of discomfort.

With careful attention and the proper precautions, young dancers can learn how to protect their bodies and head off trouble before it begins.

“After a certain many years you begin to understand certain pains and that some are good and some are bad,” explains Paige Tirs, a professional dancer with Vinok Worldance and instructor at Edmonton’s Zero Gravity Dance and Shelley’s Dance Company.

“It’s important for dancers to have a good physical therapist who deals with sports injuries. They not only help fix ail-ments, but also prevent chain reactions or catch injuries before they become serious.”

Tirs believes preventive measures such as properly warming up for rehearsal, stretch-ing and doing strengthening exercises at home truly helped her avoid injuries that could have sidelined her career over the past 22 years (she has been dancing since the age of two). She always recom-mends her students take a proactive

approach to their own well-being.In the same vein, cross-training in disci-

plines such as Pilates — which focuses on core strength — with an instructor who understands the specific demands on a dancer’s physique can also be a great preventive measure.

“With my dancers, I work a lot around rib cage extension because it will often lead to potential hip damage,” explains Corrina Anne-Poss, owner of Calgary’s Lim-itless Motion, a movement clinic offering physiotherapy, massage and cutting-edge Pilates techniques such as the Fletcher method, which was developed by a

former Martha Graham dancer.The Fletcher method, accord-ing to Anne-Poss, strengthens

a dancer’s core to the point where back pain

should never be an issue. The

technique ensures the body is aligned properly — something that is often an issue when dancers begin training at a young age and learn incorrect muscle compen-sation patterns.

Beyond the physical, Tirs also notes that mental health is also a factor when you consider the emotional stress dancers face.

“Dancers bear their souls to the world and lots of times they end up facing rejection and humiliation in return — this happens a lot in the professional world,” she says, adding that dancing is an incredibly challenging profession and having a strong support network to lean on is essential.

“I really feel my strength and courage came from the support and love from my family and friends to keep pushing me to do what I love best and that no matter what, I was going to be OK.”

BY: Meghan Jessiman

A dancer’s bodyLearn the importance of healthy rituals from the start

Above: Sawyer Nelson, 8, a member of Evolutions School of Dance, holds a long stretch.Photographer: Adrian Shellard

Canadian Performing Arts

F o und a t i o n

CPAF (CanadianPerforming ArtsFoundation) is afoundation createdto support dancers,choreographers andthe performing artsin Canada.

Our mission is tocreate a scholarshipfund for up-and-com-ing Canadian performingartists and choreographers.

To ensure a bright future in theCanadian performing arts industry,CPAF will be dedicating 100% of monies raised to supportCanadian performing arts and choreographers alike.

We believe that with your support, we can ensure a growingand vibrant Canadian Performing arts Industry.

www.showtimedancepromotions.com

Showtime Dance Promotions is the largest dance festival seriesin Western Canada with over 30 years’ experience, hosting 16

events in Western Canada as well as the Rocky Mountain DanceProject Summer Camp held in Jasper, AB in August each year.

We’re excited to introduce new studios and dancers to ourinnovative approach to Dance Competitions and Festivals which

support and encourage dance training at all levels.

Listed below is our 2015 Dance Competitionand Festival Tour schedule including our brandnew competition series Gravity. Please visit our

website to register your studio.

GREAT CANADIAN DANCE CHALLENGE

Fort Saskatchewan, AB | Dow Centre | March 25th – 29th

Lethbridge, AB | Yates Theatre | April 8th – 12th

Medicine Hat, AB | Esplanade Theatre | April 22nd – 26th

Calgary, AB | Martha Cohen Theatre | May 8th – 10th

Kelowna, BC | Community Theatre | May 13th – 17th

DANCE EXTREME FESTIVALSherwood Park, AB | Festival Place | April 22 - 26

EVERGREEN DANCE FESTIVALSherwood Park, AB | Festival Place | April 29 - May 3

DREAM TEAM DANCE FESTIVALSurrey, BC | Surrey Arts Center | May 1- 3Sherwood Park, AB | Festival Place | May 6-10

CRYSTAL CLASSIC GRAND CHAMPIONSHIPSFort Saskatchewan, AB | Dowe Centre | May 29 - June 2Kelowna, BC | Kelowna Community Theatre | July 2 - 5

ROCKY MOUNTAIN DANCE PROJECTJasper, AB | Jasper Activity Centre | August 2 - 7

GRAVITYDelta, BC - Genesis TheatreMarch 25th – 29th

Sherwood Park, AB - Festival PlaceApril 8th – 12th

Burnaby, BC - James Cowan TheatreApril 15th – 19th

Calgary, AB- Martha Cohen TheatreApril 30th – May 3rd

North Battleford, SK - Dekker CentreMay 20th – 24th

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