The Canadian Ballet Festival was an annual event staged in Canada from 1948 to 1954 that brought together various Canadian dance companies to generate public interest in classical dance. [1] Prior to the festivals, it was difficult for professional Canadian dancers to earn a living by practising their art in their own country. When the festivals ended in 1954 after six years, Canadian dancers were able to find paid work in Canadian television practising their art.
In 1947, the Royal Winnipeg Ballet formed the Canadian Ballet Festival under the direction of the manager David Yeddeau. [2] The Canadian Ballet Festival Association (CBFA) became the official organizing body. In a statement to the Royal Commission on National Development in the Arts, Letters and Sciences, the Canadian Ballet Festival Association identified the purpose of the festival as being to generate interest in dance in order "to prepare a professional field for Canadian dancers, thus enabling them to earn their livelihood by the practice of their own art in their own country." [3]
The inaugural festival in 1948 in Winnipeg brought together three ballet companies. In addition to the fledgling Winnipeg Ballet, the festival included the Toronto-based Volkoff Canadian Ballet, [4] and a Montreal-based modernist troupe under Ruth Sorel. [5] Kay Armstrong, with the British Columbia School of Dancing planned on performing which would have established her as the only Canadian choreographer with an original ballet. However, when the promised travel subsidy was withdrawn, Armstrong's troupe couldn't afford to participate. [6]
Canadian composers wrote most of the music for the Second Annual festival, held in Toronto in March 1949 at the Royal Alexandra Theatre. It featured eleven companies, including Neo Dance Theatre, and 21 ballets were performed, including Cynthia Barrett's, Song of David and Boris Volkoff's Red Ear of Corn. John Jacob Weinzweig wrote the first Canadian score commissioned by the Festival. [7] Samuel Hersenhoren directed the orchestra. [8] Subsequent to the 1949 festival, participating teachers formed the Canadian Dance Teachers' Association in order to unite, communicate and monitor teaching standards. [9]
The Third Annual Festival occurred in November 1950 in Montreal with fifteen Canadian companies and 23 original Canadian ballets. [10] Sydney Johnson and Marcel Valois wrote introductions in the 1950 program. [11] Le Ballet Concert performed Étude and Le Rêve Fantasque. [12] Celia Franca, founder of the National Ballet of Canada, was invited by the CBFA to be a guest. [13]
The Fourth Festival was held in Toronto in 1952. [14] The Fifth Festival occurred in the spring of 1953 at the Little Theatre in Ottawa. [3] The British Columbia Ballet Company performed Leonard Gibson's Gershwin Preludes. [15] By 1954, when the Festivals were over, Canadian dancers were able to find paid work in television through the National Ballet of Canada and the Royal Winnipeg Ballet. [1]
Canada's contemporary theatre reflects a rich diversity of regional and cultural identities. Since the late 1960s, there has been a concerted effort to develop the voice of the 'Canadian playwright', which is reflected in the nationally focused programming of many of the country's theatres. Within this 'Canadian voice' are a plurality of perspectives - that of the First Nations, new immigrants, French Canadians, sexual minorities, etc. - and a multitude of theatre companies have been created to specifically service and support these voices.
The National Ballet of Canada is a Canadian ballet company that was founded in 1951 in Toronto, Ontario, with Celia Franca, the first artistic director. A company of 70 dancers with its own orchestra, the National Ballet has been led since 2022 by artistic director Hope Muir. Renowned for its diverse repertoire, the company performs traditional full-length classics, embraces contemporary work and encourages the creation of new ballets, as well as the development of Canadian dancers and choreographers.
The Royal Winnipeg Ballet is Canada's oldest ballet company and the longest continuously operating ballet company in North America.
Ludmilla Chiriaeff was a Latvian-Canadian ballet dancer, choreographer, teacher, and company director.
Brian Ronald Macdonald was a Canadian dancer, choreographer and director of opera, theatre and musical theatre.
Anik Bissonnette OC CQ is a Canadian ballet dancer, who started her professional ballet career with the Ballet de Montreal Eddy Toussaint in the 1980s and was a principal dancer starting in 1990 with Les Grands Ballets Canadiens. Her father, Jean Bissonnette, was a famous television director with Télévision de Radio-Canada.
David Adams, was a Canadian ballet dancer and a founding member of the National Ballet of Canada.
Louis Robitaille, is a Canadian ballet dancer and artistic director. He was discovered at a high school dance performance and received a scholarship to train at Les Ballets Jazz de Montreal. He danced with Anik Bissonnette in Eddy Toussaint's dance company, where they garnered acclaim. He also danced with Les Grands Ballets Canadiens as a principal dancer.
Nesta Toumine was a dancer, choreographer, artistic director and teacher in Canada.
Crystal Pite is a Canadian choreographer and dancer. She began her professional dance career in 1988 at Ballet BC, and in 1996 she joined Ballett Frankfurt under the tutelage of William Forsythe. After leaving Ballett Frankfurt she became the resident choreographer of Montreal company Les Ballets Jazz de Montreal from 2001 to 2004. She then returned to Vancouver where she focused on choreographing while continuing to dance in her own pieces until 2010. In 2002 she formed her own company called Kidd Pivot, which produced her original works Uncollected Work (2003), Double Story (2004), Lost Action (2006), Dark Matters (2009), The You Show (2010), The Tempest Replica (2011), Betroffenheit (2015), and Revisor (2019) to date. Throughout her career she has been commissioned by many international dance companies to create new pieces, including The Second Person (2007) for Netherlands Dans Theater and Emergence (2009) for the National Ballet of Canada, the latter of which was awarded four Dora Mavor Moore Awards.
Paul-André Fortier is a Canadian choreographer and dancer living in Montreal. He is a recipient of the Governor General's Performing Arts Award for lifetime achievement.
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Norbert Vesak, one of Canada's leading choreographers in the 1970s, was a ballet dancer, choreographer, theatrical director, master teacher, dance columnist, lecturer, and opera ballet director, known for his unique, flamboyant style and his multimedia approach to classical and contemporary choreography. He is credited with helping to bring modern dance to Western Canada.
Vincent de Paul Warren, was a Canadian dance historian and lecturer. After a distinguished career as a ballet dancer and teacher, he became widely known and respected as a historian and archivist. He is celebrated as a leading figure in the dance world of Canada.
Gweneth Lloyd, OC was a co-founder of the Royal Winnipeg Ballet, a ballet teacher and choreographer.
Eva von Gencsy was a dancer, choreographer and teacher. After immigrating to Canada from Europe she performed with prominent Canadian dance companies Royal Winnipeg Ballet and Les Grands Ballets Canadiens. After discovering jazz dance she founded a new style of dance called ballet-jazz. She created Les Ballets Jazz de Montréal in 1972 and became their first artistic director. After leaving the company she continued to teach and showcase her new style of dance across Canada and around the world. She died in Montreal of complications due to cardiac arrest.
Boris Vladimirovich Volkoff, was a Canadian-Russian ballet dancer, director, choreographer and ballet master. After studying dance in Warsaw and Moscow he defected from Russia and eventually settled in Toronto. He created the Boris Volkoff School of Dance which trained ballet dancers, and the Boris Volkoff Ballet Company which is arguably considered the first ballet company in Canada. He gave his dancers and studio to the National Ballet of Canada to raise the profile of Canadian ballet. He regretted this decision and attempted to revive his company which ended in failure. He was appointed as a Member of the Order of Canada in 1973, one year before his death.
Miriam Elaine Adams is a dancer, choreographer, and dance archivist from Toronto. After performing with the National Ballet of Canada, she co-founded 15 Dance Laboratorium with her husband Lawrence Adams. It was the first theatre to present experimental dance in Toronto. In 1983, Miriam and Lawrence launched Encore! Encore! to document the works of six Canadian choreographers from the 1940s and 1950s, and in 1986 they launched a centre for archiving dance and publishing books called Arts Inter-Media Canada/Dance Collection Danse (DCD).
Annette av Paul is a Swedish-Canadian ballet dancer who had a 30-year dance career performing, teaching, and directing companies across Canada. Av Paul was born in Rönninge, Sweden, about 30 kilometres outside Stockholm on February 11, 1944. Her mother was a dance and piano teacher and her father an artist and writer. She studied at the Royal Swedish Ballet School and in 1962, at the age of 17, was apprenticed to the company, becoming principal dancer in 1966.
Lawrence Vaughan Adams was a Canadian dancer, archivist and publisher. He was a member of the National Ballet of Canada from 1955 to 1960, and also performed with Les Grands Ballets Canadiens and New York's Joffrey Ballet. In 1963, he rejoined the National Ballet of Canada as a soloist and then, principal dancer, leaving the company in 1969.