IN THE STUDIO | EN STUDIO: Jolene Bailie

Sensory Life, Infinite World

Interview by Megan Andrews
Photos by Hugh Conacher

Jolene Bailie / Photo by Hugh Conacher

Since graduating from The School of Contemporary Dancers and The University of Winnipeg in 2000, Jolene Bailie, artistic director of Gearshifting Performance Works, has self-presented and produced over 250 solo shows, six cross-Canada tours and numerous smaller tours; re-mounted fourteen works by senior choreographers; commissioned eight new works; collaborated on several dance-based video projects; and created one evening-length solo work, eight works for pre-professional students and over 125 dances for schools. Bailie has performed with Trip Dance Company, Winnipeg’s Contemporary Dancers and Ruth Cansfield Dance. Her new full-evening work for an ensemble of dancers marks her ten-year anniversary of professional work. She lives in Winnipeg where she shares a small condo with a beloved dog and a wonderful cat.


You launched your career fresh out of school by commissioning solo works from established choreographers. Many new grads would find this a challenge. How did you proceed and what gave you the confidence to go for it?

The path may appear confident, but in fact it was an interweaving of two factors. Upon graduation, I desperately wanted to dance, a lot. I would have loved to dance full-time with one of the companies in Winnipeg but I was not what any of the directors were looking for at the time and it did not look like any positions at the emerging dancer level were going to appear. Ever since I was a teenager, I have also always had a very strong need to experience dance outside of my somewhat isolated geography and a hunger to experience new things as well as a continued desire to train with a broad range of teachers.

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Mark Sawh Medrano, Madie the dog, Jolene Bailie and Sarah Helmer in rehearsal for Sensory Life, Infinite World by Bailie / Photo by Hugh Conacher

Who were some of the choreographers you worked with and what did you learn from these commission projects that informed your subsequent artistic path and development?

I have worked with many wonderful choreographers and directors, with some of the relationships growing to exist independently, outside of the commission. When relationships grow to be more than straightforward business, this has a profound effect on me. I love to have the opportunity to bond with artists I work with, and having an understanding of who someone is personally definitely enhances my interpretation of their work. This relationship does not always grow, but when it does, it is magical. The most influential artist in my life by far has been Bill Evans. I first trained with him in 1996 and, since then, I have trained with him every single year, as well as assisted at his summer intensives and performed with his company in Port Townsend, WA and Rochester, NY. I have had the honour to learn from him through an incredible wealth of experiences over a span of fourteen years. Simply being around Bill Evans makes life, and one’s understanding and appreciation of dance, dancers, people and the world in general richer and more fluid. He is a great teacher, an amazing mentor, now a wonderful friend and I love him dearly.


Andrew Milne, Emma Rose, Ruth Levin, Freya Olafson and Mark Sawh Medrano in rehearsal for Sensory Life, Infinite World by Bailie / Photo by Hugh Conacher

Early on, you toured the Canadian fringe festival circuit regularly. How did you manage/produce these touring shows and what advice might you give to someone interested in doing the same?

Touring the fringe with a dance show is insane. I have no idea how I survived it. One year, I did ten cities and almost sixty shows in eight-and-a-half weeks. For several tours, my ex-partner, long-term artistic collaborator and new best friend, Hugh Conacher, toured with me. I am very thankful for Hugh’s ongoing support. I also did many tours alone: setting lights, sound, making cue sheets, postering, doing publicity, packing up, unpacking, shipping, sweeping the stage, sleeping on the floor, running out of money – you name it, I did everything, plus all the shows. While some fringe festivals are great for dance, some are simply not equipped to support a dance show in the formal setting that I need. That being said, I loved touring and performing very much. I met so many wonderful artists, saw amazing performances I would never have had a chance to see in Winnipeg, and I was able to broaden my artistic experience through visiting galleries, museums and other cultural attractions. As for advising others, try out one city first. It’s very expensive and really rough emotionally and physically; and, first and foremost remember, the fringe was not created with dance in mind.


Mark Sawh Medrano and Emma Rose in rehearsal for Sensory Life, Infinite World by Bailie / Photo by Hugh Conacher

You note that you like to include elements of science fiction, fantasy and technology in your work. What attracts you to these particular fields and how are they related to your art-making in the context of today’s culture and concerns?

My reaction to these elements is out of horror. It is both amazing and disturbing how easy it is to communicate through inanimate objects and go about living life in a buffered fantasy world.


Sarah Helmer, Ruth Levin and Freya Olafson in rehearsal for Sensory Life, Infinite World by Bailie / Photo by Hugh Conacher

As you’ve developed your performance and choreography, you’ve also built a teaching practice. What values underlie your approach to teaching; what do you hope to impart to your students?

I was actually teaching tap, jazz and ballet for a few years before I began training in modern dance. I always knew I was going to teach dance. I never really thought I’d get to dance professionally, even though I wanted to so very badly. I did not start ballet until high school but immediately my skill for teaching was recognized and nurtured. I’ve always been a bit burdened by the reality that I am a far better teacher than I am a dancer. Teaching comes very naturally and I love to bond with students and help facilitate positive change. To me it is most important that dance enhances one’s life and that at the end of the day it is a positive experience, not a negative experience.


Andrew Milne, Emma Rose, Ruth Levin, Sarah Helmer, Freya Olafson and Mark Sawh Medrano in rehearsal for Sensory Life, Infinite World by Bailie / Photo by Hugh Conacher

What kinds of arts and cultural experiences do you partake in outside of your own work?

I try to watch as much as I can. My approach is simple: expose myself to as much as possible and do not get caught up in understanding any of it. I simply take it in and I am committed to this as much as I am to dance. I subscribe to everything I can: Manitoba Theatre Centre Mainstage and The Warehouse, as well as Winnipeg’s Contemporary Dancers, the Royal Winnipeg Ballet. I have a flex pass for the symphony and I always see The Winnipeg Jewish Theatre’s season as well as Theatre Projects Manitoba, as well as loads of other shows not affiliated with a season pass – and I am a member of The Winnipeg Art Gallery. I see a live performance at least once a week for most of the year and have made it part of my lifestyle. I strongly feel that if I am active in the arts community, I need to experience and smell and feel what is going on in the community I act in. I also surf the net and YouTube to see what is going on outside of the Winnipeg bubble. I am overwhelmed at the richness of creativity we have in the world.


Mark Sawh Medrano, Jolene Bailie and Sarah Helmer in rehearsal for Sensory Life, Infinite World by Bailie / Photo by Hugh Conacher

Gearshifting Performance Works (Jolene Bailie) presents a new work from February 19th through 21st at the Canwest Centre for Theatre and Film, Winnipeg.

Learn more >>
www.gearshifting.org

Protein: recent research and debate

By Nathan Payne

Editor’s Note: In the November 2009 print issue of The Dance Current, our “Healthy Dancer” column focussed on the body’s need for and use of protein. A discussion ensued in our letters to the editor in December/January 2009/10, which inspired writer Nathan Payne to develop a longer article on the topic.

More Research Leads to More Questions
The conventional nutritional wisdom in the area of protein use and classification of amino acids has changed. In the 1930s and 1950s Rose and colleagues performed a series of nitrogen balance studies on volunteers. The volunteers were fed diets deficient in one or more amino acids and as each amino acid was removed from the diet a corresponding deficiency would be observed in the body. It was only when the amino acid was re-introduced into the diet that the deficiency was reversed (Rose 1955).

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New understandings of protein such as biological use, individual variability and the dose-response relationship (i.e., what quantity of amino acid “x” reduces risk of deficiency), can only be refined by the development of controlled clinical trials.

Adjustments to an individual’s requirements for dietary protein consumption and use of amino acids can be impacted by a number of variables including but not limited to the intensity level and type of physical activity performed, biological differences, physiological and pathophysiological states (e.g., trauma and catabolic disease), protein quality and digestibility, and energy balance (i.e., meeting the functional needs of the body during rest and active states). For example, a sixty-two kilogram person who is incorporating resistance training, like weight-bearing physical activity, and endurance training, would require approximately 100 grams of protein or 1.6 grams of protein per kilogram of body weight per day. For the average Canadian, this level of protein would not be required to maintain a healthy lifestyle, and consuming the Recommended Daily Allowance (RDA) of 0.8 grams of protein per kilogram of body weight per day would be sufficient.

Earlier examinations of protein and training also discovered that training intensity, restricting calories through diet and following food plans that decrease the levels of carbohydrate and fat, could all decrease the efficiency of protein use in the body. These results would in turn alter the dietary protein recommendations for some athletes (Tarnopolsky et al. 1988).

Rather than generating conclusive evidence, the volume of research conducted in this area has raised many unresolved questions in nutrition science.

Measuring Nitrogen Balance to Determine Protein Requirements
The body’s principle uses of protein are energy and repair of muscle following exercise. Of the several approaches used by researchers to evaluate protein use, the most common is the nitrogen balance method. Nitrogen is required by the body to form proteins, hormones, neurotransmitters and other molecules related to the immune system. Nitrogen must be obtained in the diet through amino acids (components of proteins). One criterion to determine an individual’s protein requirement is the maintenance of a positive or zero level of nitrogen. However, nitrogen measurements can be impacted by a number of confounding variables. The results from research focussing on nitrogen balance data with respect to context, methodology and test subjects used, have subtle nuances that need to be compared with other research.

Do highly active individuals have greater protein requirements?
The Food and Nutrition Board (FNB) of the United States Institute of Medicine report on the evidence of additional protein needs cites studies published in 1992 and 1995 that conclude additional protein is not required for highly active individuals. This report differs from the combined position of the American College of Sports Medicine (ACSM), American Dietetic Association (ADA) and the Dietitians of Canada (DC) committee (2006 and 2009) as well as others. In their own study, Venderley and Campbell suggest that the protein needs of well-trained endurance and strength athletes are higher than that of sedentary persons (Venderley and Campbell 2006). These authors further note that the position of the ACSM, ADA and DC committee on higher protein recommendations were specifically for highly trained, elite athletes, and that otherwise their assessment is consistent with findings of the FNB, which suggests that there is little scientific support for increasing dietary protein recommendations for recreational or non-elite athletes. In the context of dance, this last statement would beg the question: Is a dancer a “recreational” or “non-elite athlete”, or does a dancer’s level of training equal that of other highly trained athletes?

The suggested range of 1.6 to 1.8 grams of protein per kilogram of body weight per day and greater for individuals pursuing high-level strength training, depending on intensity and duration of the strength exercise, has consistent support based on several studies (Campbell et al. 2007; Wilson et al. 2006; Tarnopolsky et al. 1992; Lemon et al. 1992). Similar results are found in studies focussed on endurance exercise and this may be due to the body’s use of protein for energy, or the fact that some proteins used in the studies are of lower quality compared to others (Phillips 2006). In a recent “Globe and Mail” article, Phillips is quoted as advocating a “middle path” between the low protein requirements suggested by research studies and the higher requirements advocated by many coaches and athletes (Hutchinson 2009). When it comes to wading through the results of these studies, the devil is in the details and you will likely draw your own conclusions.

So, where do dancers fit in?
Back to the earlier question of whether a dancer is a recreational or elite athlete, most of these publications classify the study participants as active or sedentary, or athletes who are training recreationally or professionally. One thing is clear: an RDA of 0.8 grams of protein per kilogram of body weight per day does not apply to everyone, especially dancers at different stages of training. Perhaps we should come back to consider how these studies define a recreational athlete. When examining individuals’ protein requirements, Tarnopolsky characterized a recreational athlete as someone participating in activity such as jogging four times per week at forty-five percent maximum oxygen consumption for one hour. This is a very different physiological scenario from a top sport athlete who may be training and competing at intensities of sixty to eighty-five percent of their maximum oxygen consumption for eight to forty hours per week (Tarnopolsky 2004). VO2 max, a measure of aerobic potential or the maximum amount of oxygen used during intense/maximal exercise, may not necessarily be the best method of testing performance. A dancer will differ in training impulse and peripheral adaptations compared to a cyclist or runner. In other words, VO2 max values collected from a study participant riding a stationary bike may not be transferable to a dancer or other athletes. So where does a dancer fit in this scheme? I would argue that many dancers, during their initial stages of training, as well as throughout their careers, would fall somewhere within the range of physical activity presented in the Tarnopolsky article.

Protein requirements are also impacted by intensity, duration and type of exercise (Lemon 2000). Recent intervention studies have examined the importance of consuming protein with carbohydrate during exercise (Beelen et al. 2008). Campbell and colleagues also noted that strength/power exercise is thought to increase protein requirements even more than endurance exercise, particularly during the initial stages of training and if there is a sharp increase in the intensity and frequency of training (Campbell 2007). It would be reasonable to surmise from this data that a dancer would have increased demand for protein as well. For example, in rehearsals involving more strength movements, including jumping and lifts, the body will require greater amounts of protein and energy to sustain the activity and for recovery (repair to damaged muscle tissues).

In evaluating this research, however, one should keep in mind that a proper food plan, which includes adequate carbohydrates, will have a sparing effect on amino acid oxidation and protein balance (Elwyn et al. 1978). In other words, protein will not be the first choice for fuelling the body if one consumes a sufficient amount of carbohydrates. Therefore, it is generally recommended to include snacks composed of a mixture of both protein and carbohydrate, especially when training over an extended period of time.

Protein Intake and Renal Function
There is a widely held belief that additional protein, beyond the recommended daily intake for the general population, could stress the kidneys. Most of the studies that observed a negative impact on renal function were conducted on animals and patients with co-existing renal disease so an extension of those findings to healthy individuals is inappropriate (Martin et al. 2005). A report of a joint World Health Organization/Food and Agriculture Organization/United Nations University Expert Consultation published in 2007 suggests that a high intake of protein in healthy subjects does not lead to a deterioration of kidney function. This same report concludes that, with respect to safe upper limits for adults, “an intake of twice the recommended intake … is likely safe given that it equates to intakes of physically active individuals consuming average mixed diets who would otherwise be identified as having healthy lifestyles.” This statement is supported by the most recent review published in the “Journal of the International Society of Sports Nutrition”, which summarizes research results concerning renal function in athletes and finds the data to be inconsistent, especially when looking beyond the population of chronically diseased people (Lowery and Devia 2009).

Classifying and Combining Proteins
In terms of the relevance of essential (“indispensable”) amino acids and non-essential (“dispensable”) amino acids, researcher Alan Jackson suggested reclassifying amino acids into four categories based on the ability or inability of the body to synthesize all or part of the amino acid (Jackson 1983). The traditional classification of essential or indispensable amino acids (IAAs) and non-essential amino acids is a little less rigid today due to certain physiological circumstances that make particular amino acids “conditionally” essential. Laidlaw and Kopple further modified this classification based on research indicating that humans synthesize amino acids differently in healthy and diseased states (Laidlaw and Kopple 1987). So in certain circumstances, when an amino acid is no longer synthesized in the body, it must be consumed through diet in sufficient quantities to avoid any deficiencies.

The classic nutritional theory of protein combining within one meal in vegetarian diets has also been refined over the years. The position of the ADA and DC is that one does not have to consume complementary proteins at one meal, and that consuming a variety of foods throughout the day will also ensure minimum levels of protein are being met (Mangels et al. 2003). However, I would also argue that the concept of strategically consuming a variety of grains, pulses and other meat alternatives throughout the day for various eating habits (vegetarian or other) is not common knowledge for most people and is even more relevant today. If an individual does not follow the basic tenet of consuming fruits and vegetables, it would be reasonable to assume that they may also stray away from whole food sources of protein found in pulses and grains. More specifically, they may not appreciate the variability in quality and quantity of plant and animal proteins.

This knowledge is especially important for those deriving a majority of their protein from plant sources in order to support an active lifestyle or during bouts of training. A modification in one’s food plan is particularly important if one decides to completely eliminate particular animal proteins. The latest data collected by a recent Ipsos Reid poll was well publicized. Unfortunately, it found that 23% of all Canadians surveyed did not consume any vegetables or fruit in their diet and 91% of younger adult men and women did not eat the recommended daily amount. As noted by Venderley and Campbell: “A vegetarian diet can provide all essential and non-essential amino acids from plant foods alone if a variety of foods are consumed throughout the day and energy intake is adequate (Venderley and Campbell 2006).”

The practice of food combining throughout the day is important because the quality of amino acids is not the same in all foods. The Protein Digestibility Corrected Amino Acid Score has been adopted as the preferred method for the measurement of protein value in human nutrition (Schaafsma 2000). For example, if a dancer follows a diet composed mostly of cereal grains, which are often deficient in the amino acid lysine, either another complementary food item, such as quinoa, various other seeds and legumes, or a strategic supplement, such as a dose of spirulina or other, if one is vegan, is recommended.

The biological systems addressed here are complex. Dietary needs are diverse and individuals living either active or sedentary lifestyles may need to adjust their food plan in relation to the general recommendations. There is considerable evidence that the dietary protein needs of a dancer are different than that of the average person. Therefore, it is reasonable to assume the RDA may not be sufficient for everyone. Not all foods are created equally, and so consuming a variety of foods, with extra attention during periods of increased physical activity and training, will ensure unique dietary needs are being met.

References

American College of Sports Medicine, American Dietetic Association, and Dietitians of Canada. (2009). “Joint position statement: Nutrition and athletic performance”. Medicine & Science in Sports & Exercise, 41(3), 709-731.

Beelen, M., Koopman, R., Gijsen, A. P., Vandereyt, H., Kies, A. K., Kuipers, H., et al. (2008). “Protein coingestion stimulates muscle protein synthesis during resistance-type exercise”. American Journal of Physiology, Endocrinology and Metabolism, 295(1), E70.

Campbell, B., Kreider, R. B., Ziegenfuss, T., La Bounty, P., Roberts, M., Burke, D., et al. (2007). “International society of sports nutrition position stand: Protein and exercise”. Journal of the International Society of Sports Nutrition, 4, 8.

Elwyn, D. H., Gump, F. E., Lles, M., Long, C. L., & Kinney, J. M. (1978). “Protein and energy sparing of glucose added in hypocaloric amounts to peripheral infusions of amino acids”. Metabolism: Clinical and Experimental, 27(3), 325-331.

Food and Nutrition Board (FNB) of the United States Institute of Medicine. (2005). “Dietary Reference Intakes for Energy, Carbohydrate, Fiber, Fat, Fatty Acids, Cholesterol, Protein, and Amino Acids (Macronutrients).” A Report of the Panel on Macronutrients, Subcommittees on Upper Reference Levels of Nutrients and Interpretation and uses of Dietary Reference Intakes, and the Standing Committee on the Scientific Evaluation of Dietary Reference Intakes.

Hutchinson, A. (2009, May 8). “Easy on the protein shakes big guy”. Globe and Mail, pp. L.3. Retrieved from http://www.theglobeandmail.com/life/do-i-need-to-quaff-protein-powders-to-gain-muscle/article1139578/

Joint World Health Organization/Food and Agriculture Organization/United Nations University Expert Consultation. (2007). Protein and amino acid requirements in human nutrition No. 935. Switzerland: WHO Press.

Jackson, A. A. (1983). “Amino acids: Essential and non-essential”. Lancet, 1(8332), 1034-1037.

Laidlaw, S. A., & Kopple, J. D. (1987). “Newer concepts of the indispensable amino acids”. American Journal of Clinical Nutrition, 46(4), 593.

Lemon, P. W., Tarnopolsky, M. A., MacDougall, J. D., & Atkinson, S. A. (1992). “Protein requirements and muscle mass/strength changes during intensive training in novice bodybuilders”. Journal of Applied Physiology, 73(2), 767.

Lemon, P. W. R. (1996). “Is increased dietary protein necessary or beneficial for individuals with a physically active lifestyle?” Nutrition Reviews, 54(4), 169-175.

Lemon, P. W. R. (2000). “Beyond the zone: Protein needs of active individuals”. Journal of the American College of Nutrition, 19(Supplement 5), 513.

Lowery, L. M., & Devia, L. (2009). “Dietary protein safety and resistance exercise: What do we really know?” Journal of the International Society of Sports Nutrition, 6, 3.

Mangels, A. R., Messina, V., & Melina, V. (2003). “Position of the American Dietetic Association and Dietitians of Canada: Vegetarian diets”. J Am Diet Association, 103(6), 748-765.

Martin, W. F., Armstrong, L. E., & Rodriguez, N. R. (2005). “Dietary protein intake and renal function”. Nutrition & Metabolism, 2, 25.

Phillips, S. M. (2006). “Dietary protein for athletes: From requirements to metabolic advantage”. Applied Physiology, Nutrition, and Metabolism, 31(6), 647-654.

Rand, W. M., Pelett, P. L., & Young, V. R. (2003). “Meta-analysis of nitrogen balance studies for estimating protein requirements in health adults”. The American Journal of Clinical Nutrition, 77(1), 109-127.

Rose, W. C., Wixom, R. L., Lockhart, H. B., & Lambert, G. F. (1955). “The amino acid requirements of man. XV. the valine requirement; summary and final observations”. 217: 987-995, The Journal of Biological Chemistry.

Rose, W. C. (1938). “The nutritive significance of the amino acids”. Physiological Review, 18, 109.

Schaafsma, G. (2000). “The protein digestibility-corrected amino acid score”. Journal of Nutrition, 130(7), 1865S.

Tarnopolsky, M. (2004). “Protein requirements for endurance athletes”. Nutrition, 20(7-8), 662-668.

Tarnopolsky, M. A., Atkinson, S. A., MacDougall, J. D., Chesley, A., Phillips, S., & Schwarcz, H. P. (1992). “Evaluation of protein requirements for trained strength athletes”. Journal of Applied Physiology, 73(5), 1986.

Tarnopolsky, M. A., MacDougall, J. D., & Atkinson, S. A. (1988). “Influence of protein intake and training status on nitrogen balance and lean body mass”. Journal of Applied Physiology, 64(1), 187.

Venderley, A. M., & Campbell, W. W. (2006). “Vegetarian diets: Nutritional considerations for athletes”. Sports Medicine, 36(4), 293.

Wilson, J., & Wilson, G. J. (2006). “Contemporary issues in protein requirements and consumption for resistance trained athletes”. Journal of the International Society of Sports Nutrition, 3(1), 7.


Nathan Payne [department writer] graduated from Ryerson University with a degree in Food and Nutrition. Currently he volunteers in health promotion and community gardening. He also continues to develop his interest in visual arts.

HEALTHY DANCER: Salmon Cakes

Omega-3: The Good Fat
By Nathan Payne and M. Karin Ng, MHSc, RD

The typical Canadian diet has a high ratio of omega-6 to omega-3 fat and a better balance would likely be beneficial: increasing your food sources of omega-3 fat can help. Here are some tips to boost your omega-3 intake:
• Aim for two servings (75g each) of fish such as sardines, anchovies, mackerel or salmon per week (equivalent of 4 fish cakes); do not over-consume some of the larger fish like tuna, shark and swordfish as they can bioaccumulate dioxins and mercury leached from pollutants
• Incorporate 2 to 3 tablespoons of walnuts as a quick energy snack
• Make room for Brussels sprouts, kale, spinach and salad greens
• Add flaxseed and canola to your baking

Try this recipe for Salmon Cakes, a quick and tasty way to appreciate the flavour and health benefits of salmon.

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Salmon Cakes
(makes 4 to 6 cakes)

1 large potato
1 can salmon, drained, skin and large bones removed
1/4 cup red onion, finely chopped
1/4 cup sweet red pepper, finely chopped
2 teaspoons Dijon mustard
1 egg, lightly beaten
1/4 cup quick oats
1/2 teaspoon salt
1/4 teaspoon freshly ground pepper
1/4 teaspoon paprika
2 tablespoons canola oil

Chop the potato into small cubes and place in a bowl with about 1 cup of water. Microwave on high for 10 minutes while preparing the remaining ingredients. Remove and drain the water. Mash the potatoes with a fork and set aside.

Flake the salmon and stir in the mashed potatoes along with the remaining ingredients and seasonings. Form into thick cakes and place this mixture in the fridge for a minimum of 5 minutes (Note: the longer the mixture is left in the fridge, the more the flavours will develop).

Heat a large skillet over medium heat and grease with canola oil. Cook patties for about 5 minutes per side, or until browned.

ASTUCES POUR PROFESSEURS: Préparation: examens et compétitions

de Katharine Harris de l’École nationale de ballet du Canada
Traduction de Marie Claire Forté

Les examens, spectacles et compétitions font partie de la vie du danseur. Une bonne préparation aide à diminuer le stress et à rendre l’épreuve plus enrichissante. Pensez au-delà des pas : la préparation comprend plus que la danse elle-même.

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1. Assurez-vous que les élèves sont bien dans leurs costumes. On ne devrait jamais danser pour un examen ou une compétition dans un costume ou un maillot sans l’avoir porté en répétition antérieurement. Le tissu d’un costume peut s’étirer (ou non) de façon inattendue et ainsi nuire à la concentration du danseur qui le porte.

2. Il est essentiel de bien connaître la musique. Parfois, avec une montée d’adrénaline, un cue très familier peut soudain sonner différemment. Les niveaux sur différents systèmes de son peuvent aussi changer la musique et mêler les interprètes. Faites une écoute attentive avec les élèves et relevez les différentes trames dans la musique.

3. Si l’examen ou la compétition a lieu à proximité du studio, encouragez les élèves à visiter le lieu. Ce sont les petits détails – connaître la disposition du studio et l’emplacement des salles de bain et des vestiaires – qui peuvent aider à rendre l’expérience moins intimidante.

4. Une bonne façon de préparer un examen est de mettre en scène un examen d’essai dans votre studio. Placez une table à l’avant du studio et assoyez-vous derrière, peut-être avec un autre professeur du studio. Les élèves s’accoutument ainsi à danser dans un studio sans un professeur qui circule dans la salle. Prenez des notes à la table pour les habituer à des observateurs qui écrivent, puisque cela peut-être un autre élément déstabilisant le jour de l’examen.

5. Il est toujours utile de communiquer avec les élèves à l’avance pour fixer des objectifs et des attentes réalistes, et favoriser une ambiance positive. Partagez certaines techniques, comme la respiration profonde ou la pratique d’un rituel de spectacle personnel, pour calmer la nervosité avant un spectacle.

6. La préparation mentale est importante. Discutez d’outils pour composer avec des événements imprévisibles pendant le spectacle. Encouragez les élèves à ne pas se laisser déconcentrer par les faux pas ; l’erreur est humaine. Comme dans tous les spectacles, l’important, c’est de continuer.

7. En tant que professeur, une de vos responsabilités premières est d’équiper vos élèves avec des stratégies d’adaptation face aux résultats d’examens, de spectacles ou de compétitions. Une des habiletés peut-être les plus importantes à encourager est la capacité de demeurer calme, surtout si les élèves reçoivent leurs résultats en public.

8. Rappelez aux élèves que le processus d’examen ou de compétition s’inscrit dans un parcours. Bien qu’il se conclut un jour avec des résultats, il faut en tirer une expérience d’apprentissage. Faites un retour avec les élèves après l’événement sur leur perspective de l’expérience. Se pencher dessus ensemble peut aider à mitiger la déception le cas échéant, et à bâtir la confiance pour le prochain examen ou la prochaine compétition.

A “Selfish” Impulse Turned Invitation: Older and Reckless is Ten

By Carol Anderson

Claudia Moore / Photo by Julia Gotz

Older and Reckless, started by Toronto-based dancer/choreographer Claudia Moore, is celebrating its tenth anniversary season in 2009/10. During its first decade, a remarkable roster of “older” artists has participated in the series.

Who’d be a dance artist, where ripeness is already “past it”? Big-spirited Moore saw a way forward. What about a series that would stage the work of senior artists? In an interview, she recalled that the idea was “selfish … I was a performer but I wasn’t getting to perform enough. It’s so expensive to produce work, I thought it was a good idea to start a studio series where we could perform – some of my friends could perform too. There was a need for it. So I started it very selfishly, but opened it to others with similar needs.”

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Moore envisioned Older and Reckless as a situation in which dance artists over forty could try out new work in front of an audience, without the financial and artistic risks – and the scrutiny – that often dog established artists. She is community-minded always, and conceived the series as an opportunity for performance practice, observation and exchange among artists and audience members.

Peggy Baker introduced the inaugural O&R performance, on June 26th, 2000, with a gracious and philosophical musing on the importance of older artists to the integrity and beauty of the art of dance. She spoke to an eager audience, who braved extraordinary heat and airlessness at Dancemakers’ old studio above the auto shop at Dupont and Ossington. On this first program was Robert Desrosiers, who sat in front of a portrait he had recently painted and played his guitar, then danced on a carpet. Jan Komarek showed a duet he was working on for Moore and a young dancer named Melina, and Moore danced in her unique version of “Rite of Spring”. This self-described “one-woman warrior dance against the Toronto District School Board” was Moore’s expression, as the mother of two school-age children, of her rage against recent education cuts under Mike Harris’ watch. She danced, some of Stravinsky’s score played, and bits of an angry parent’s letter were read. It’s hard to say no to Moore – she also invited me to take part in that very first O&R, and I performed a nostalgic dance called “Summer Pudding”, reminiscing about being a young dance student in London.

Older and Reckless caught on right away. For a time, it was an annual event; then Moore’s company MOonhORsE Dance Theatre, which produces O&R, began to support two editions per year. As part of the series’ continuing evolution, it became a weeklong event, expanding to include an outside eye and offering a more formalized opportunity for artistic exchange through a forum for discussion about creative process and other creative issues.

Now, artists are welcome to show new pieces, but Older and Reckless is not exclusively for premieres; some previously performed dances are also presented. Over time, Moore has shaped the series to welcome audiences into experiencing dance in several ways. Performances are introduced and animated by Christine Moynihan, executive director of DUO, who manages MOonhoORsE. The cast and the outside eye participate in the post-show chats that always follow performances. The notion of an audience warm-up was introduced several years ago. Moore laughs, “At first just one or two brave souls would go onstage for the warm-up, now the whole audience takes their shoes off and gets down.” Related workshops are a relatively recent addition to O&R activity. To date these have included NIA with Martha Randall, salsa with Miko Sobriera and Tom Brouillette’s body wisdom work. Martha Randall returns in December for another NIA workshop.

While Older and Reckless artists, including Moore, are many and varied, one consistent element is the affection of the audiences, who come to watch, stay to question and linger to party. In true Moore fashion, as if by magic, tables laden with food and drink appear moments after the post-show discussion, and people hang out to eat, drink and commingle. It’s festive. Everyone has a good time at an Older and Reckless show. Says, Moore, “Performances are always intimate affairs.”

MonhORsE’s artistic statement describes the series so: “Older and Reckless unites senior artists with people from all walks of life. Revealing creative process, practicing performance, investigating the development of new work, reaching out to emerging artists and stimulating the public, ‘older and reckless’ artists continue to passionately contribute with their own distinctive voices to dance.”

The series is very popular with established dance artists, and has become a sought-after venue. The December 2009 O&R program includes a new solo by Trish Beatty for Danielle Baskerville, Denise Fujiwara showing a new solo-in-progress which premieres in March, Tom Brouillette and Gerry Trentham in a much-anticipated duet “Tomas and Gerald”, and, by permission of the Fondation Jean-Pierre Perreault, a 1999 duet by Perreault titled “E.M.F.” performed by Laurence Lemieux and Mark Shaub. Moore will be watching these shows, having just completed “Dances in a Small Room” at the Young Centre, November 26th through December 5th, performing commissioned works by Tedd Robinson and James Kudelka with partner Dan Wild.

The second O&R anniversary shows take place from March 12th through 14th 2010. Sashar Zarif will show a new solo for Sylvie Bouchard, Old Men Dancing will perform a new work by Marie-Josée Chartier, Maxine Heppner will present a solo and Julia Sasso will perform her solo “accidental dances” to music by Ann Southam. Newton Moraes will teach a Brazilian dance workshop. From Moore’s “selfish” desire to be on stage more often, Older and Reckless has evolved into a series that helps impart a sense of longevity to dance artists, and has become a staple on Toronto’s dance calendar.

Claudia Moore / Photo by John Lauener

Older and Reckless Programming History

#1 June 26, 2000: Robert Desrosiers, Claudia Moore, Carol Anderson, Jan Komarek

#2 Nov. 2000: Tedd Robinson, Trish Armstrong, Elizabeth Chitty

#3 June 16, 2001: Danny Grossman, Holly Small, Maxine Heppner, Grindl Kuchirka/Oliver Schroer, Viv Moore (duet with her mom, age 78)

#4 Nov. 30, 2001: Peter Bingham, Sylvie Bouchard, Gerry Trentham, Claudia Moore

#5 June 28 & 29, 2002: Mitch Kirsch, Terrill Maguire/Helen Jones, Claudia Moore, Vivine Scarlett, Menaka Thakkar

#6 Nov. 22 & 23, 2002: Viv Moore, Maxine Heppner, Michelle Silagy, Claudia Moore

#7 June 2003: Karen Duplisea, Marie-Josée Chartier, Claudia Moore, Carol Anderson

#8 Nov. 7 & 8, 2003: Miko Sobreira, Learie McNicholl, Lin Snelling, Claudia Moore

#9 April 23 & 24, 2004: DA Hoskins/poet Jill Batson, Janice Pomer/musician Barry Prophet, Terrill Maguire, Claudia Moore

#10 Nov. 2004: Karen Jamieson, Elizabeth Langley, Trish Armstrong, Claudia Moore /collaboration with Patti Powell

#11 May 13 & 14, 2005: Karen Kaeja, Grindl Kuchirka, Claudia Moore, Rina Singha

#12 Dec. 13 & 14, 2006: Denise Fujiwara, Gerry Trentham, Tedd Robinson (solo #1 for Claudia Moore), Sashar Zarif (quartet for Carol Anderson, Susan Cash, Holly Small, Terrill Maguire)

#13 March 9 & 10, 2007: Rachel Browne/Odette Heyn-Penner, Brent Lott/Odette Heyn-Penner, Julia Sasso/Ann Southam

#15 Dec 5-7, 2007: Tedd Robinson (solo #1-3 for Claudia), Bill Coleman/John Oswald /and friends, Troy Twigg/Terrill Maguire/Karen Kaeja

#16 Feb 28, 29 & March 1, 2008: Douglas Dunn, Bill James, Keiko Kitano, Dan Wild (solo for Marie-Josée Chartier)
Body Wisdom (first audience workshop): Tom Brouillette

#17 Dec 4-6, 2008: Deborah Dunn, Lina Cruz, Michelle Silagy (solo for William Yong), Claudia Moore (duet for Tom Brouillette and Jennifer Lyn Dick)
Nia workshop: Martha Randall

#18 March 5-7, 2009: Stephanie Ballard/Odette Heyn-Penner, Sylvie Bouchard (solo for Martha Randall), Maxine Heppner/composer Miguel Frasconi, Terrill Maguire/composer
Ann Southam


Carol Anderson has enjoyed a diverse career as a dancer, teacher, choreographer, consultant and dance writer. Her most recent book "Unfold: A Portrait of Peggy Baker" was published by Dance Collection Danse (2008). Anderson is an associate professor in the York University dance department.


Older and Reckless runs from December 11th through 13th at Dancemakers’ Centre for Creation, Toronto.

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ASTUCES POUR PROFESSEURS : Apprivoisez l’hiver, pensez aux Jeux olympiques

De Katharine Harris à l’École nationale de ballet du Canada
Traduction de Marie Claire Forté

Janvier peut être un mois un peu pénible en studio. Après l’escalade d’énergie pour la préparation et la présentation du spectacle des fêtes, il y a souvent un petit creux.

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Soudain, on se rend compte que l’hiver et le froid se sont installés et qu’il fait déjà noir à la fin des classes de danse après l’école. La motivation peut traîner de la patte à ce moment de l’année et en tant que professeur de danse, c’est à vous de changer la dynamique du cours. Une tactique utile : créez un projet auquel les élèves peuvent se consacrer, sans aller dans l’envergure d’un spectacle des fêtes ou de fin d’année. Un tel niveau d’énergie est insoutenable pour toute une année et vos élèves ont besoin de récupérer après leur dernier spectacle ! Un projet plus modeste, qui engage les élèves du début à la fin, peut être la solution pour favoriser la concentration en classe.

Vancouver accueille les Jeux olympiques et paralympiques d’hiver 2010 ; c’est une occasion spéciale pour tous les Canadiens. Nous nous préparons à recevoir des milliers d’athlètes, d’entraîneurs, de personnel de soutien et d’admirateurs dans notre pays. Pourquoi ne pas vous servir des Jeux olympiques comme projet pour votre classe de danse ? Comprise dans ses devoirs comme ville-hôte, Vancouver présente l’Olympiade culturelle du 22 janvier au 21 mars, une vitrine pour une grande variété de spectacles d’artistes canadiens et étrangers. Un projet idéal pour soulever l’enthousiasme de la classe est de faire semblant que votre classe fait partie de l’Olympiade culturelle. Que présenteriez-vous si vous aviez l’occasion de danser pour le monde entier en représentant le Canada ? Serait-ce une nouvelle chorégraphie ? Une création dansée sur une chanson d’artistes canadiens ? Serait-ce une danse qui met en valeur le patrimoine de la classe ou du studio ? Profitez de l’occasion pour parler aux élèves de ce qu’ils aimeraient partager de leur danse et d’eux-mêmes. Une fois que tous les élèves en discutent, vous verrez que l’enthousiasme est au rendez-vous et qu’ils ont hâte de reprendre le travail.

Pensez à préparer une mini présentation de votre création olympique, juste avant la semaine de relâche. C’est un projet qui fournit un objectif, de l’enthousiasme et de la motivation aux élèves. L’occasion pour eux de faire leurs preuves, à petite échelle, devant les parents est excellente. Le spectacle olympique ne devrait pas être aussi grand et intensif qu’un spectacle de fin d’année ou de fêtes. S’il est présenté comme atelier spectacle, peut-être sans costumes, en studio, les élèves peuvent s’investir et en être fiers sans être stressés. Participer avec votre classe de danse dans l’élan qui mène vers les épreuves olympiques est une occasion unique de se sentir connecté à tout le pays, et même au monde. Et c’est un excellent moyen d’apprivoiser l’hiver.

For the English version of this article, see The Dance Current December 2009/January 2010 print issue. | Pour la version anglais de cette rubrique, voyez The Dance Current December 2009/January 2010 édition imprimé.

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IN THE STUDIO | EN STUDIO: Old Men Dancing

Do Not Resuscitate | Ne pas ressusciter

Interviews by Megan Andrews
Photos by Esther Vincent

Bob Romerein, Brian Ling, Paul Clifford, Rob Steinman, Peter Earle, Jim Angel, Colin MacAdam and/et Chris Lemieux rehearsing Allen Kaeja’s work Unhinged/en répétition pour Unhinged d’Allen Kaeja / Photos by/d’Esther Vincent

Old Men Dancing (OMD) was formed by musician and composer Michael Hermiston and emergency medical technician George Barron in 2002. The group consists of men aged fifty or so who have come together for the love of dance and performance. They have no formal dance training and come from all walks of life. Old Men Dancing is unique in the community and in Canada as a group that creates contemporary dance theatre in the context of what it means to be an older male in our society. The group challenges social norms, while they share and learn together.

In 2005 they began working with choreographer Bill James, artistic director of Atlas Moves Watching, who offered weekly classes. The group has since commissioned and performed choreographic works by several contemporary choreographers including James, Allen Kaeja, Marie-Josée Chartier, Tedd Robinson, DA Hoskins and, most recently, David Earle.

Here James, the choreographers and various group members comment on their experiences working with OMD.


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From Bill James, artistic director of Atlas Moves Watching, on working with OMD as teacher, choreographer and director

Bill James
“I have always been fascinated by how people move in natural, unstudied ways. When I was a dancer with Le Groupe de la Place Royale in the 1970s and 1980s I taught theatre students at the National Theatre School, people in workshops on tour, adult beginner classes at our school in Ottawa. I also enjoyed all the instances where we engaged with the community in workshops, classes and residencies. Later on I developed a series projects to bring dance and other art forms to street-involved youth. While, as a choreographer, I love to work with highly trained dancers, I have always included people who are not trained dancers in much of my work. OMD has provided a trove of life experience. I am just beginning to realize how much they have to say as dancers.

“The work with OMD strengthens my abilities as a teacher and as a choreographer. I have developed a more simple dance vocabulary, which is clearer. My teaching has responded to the needs of the men and of the choreographers, so that it is more alive and creative.”


From the commissioned choreographers, on creating work for OMD:

Marie-Josée Chartier
“I happened to have a work in mind for a really long time that I wanted to do with a group of mature men. When Bill asked me, I saw this as a great chance to experiment with the idea. For me the level of skill, the different body types, the different personalities was what made it exciting, and in fact fed me more ideas and possibilities than if I had worked with a more uniform group of professional dancers.

“The only thing that I had to really reconsider was what I could develop with them in the amount of time I had. I have ideas for a full-evening work from my initial concept and had to choose some of those ideas for a twenty-minute work. I went in the studio with the seed idea only and I let myself be inspired by the men, by what they had to offer, which was very rich.”

Tedd Robinson
“I prepare for making work in the same way with each new creation, as I do most of the work in the studio with the performers. I generally see what there is to work with and try to find the most interesting way to get the potential to reality. In the case of OMD I knew that I would work with props but did not know until the last minute whether it would be grapefruits or canvas squares. Basically, this is the same process for everyone that I work with; I come with nothing and find something or I come with something that I have used to see how I can go further with that concept. Because of the time constraints, I knew that I had to be extra clear about the movement from the start. The worst thing I could do would be to change my mind and head off in a different direction. I have also found through the years that no matter the experience of the performer, the first time that a sequence of instructions is transferred from choreographer to performer is the one most deeply ingrained, and Old Men Dancing was no different.

“I discovered quite soon that the spirit in the studio was serious but jovial and I liked that. In fact, during this process we have had a lot of good genuine belly laughs. I think that this has something to do with their well-intended responses to instructions and the fact that they were not the typical responses I was used to. A truly enjoyable experience. Also there is a certain joy when working with people who are secure in the studio because they have nothing to prove, nothing at stake and want nothing but what you can give them today. They are there because of an organic process of coming together under the common bond of curiosity and an inexpressible underlying understanding that this congregation of men dancing is important for them and important for them to share.”

DA Hoskins
“It is integral to absorb the distinction that defines each of my engagements – whether it be commissioned, collaborative or my own independent work. My main objective with this work was to explore aspects of age and innocence. That said, I had no idea how this would play out until we actually got into a room together to play, observe and respond to each other.

“I really thought it was also integral to capture as much of the history of these guys as possible … so I approached my friend and filmmaker Nico Stagias to create a collage of interviews that offered personal insight. We did these interviews at the first rehearsal so it was an intimate and moving introduction to each other. I approached the initial in-studio period as a time to view personal character in action. The first rehearsals were instigated to create a physicality through partnering and solo phrase work. What became most prominent for me was the sense of humor that riddled our time together … not to say it wasn’t serious or discredit the hard work these guys put in … but there was such a celebratory aspect in having us all together.”

Allen Kaeja
“I was first invited to teach a partnering/contact workshop with OMD a year [prior to creating a work]. I didn’t know what to expect, but I found the men to be incredibly curious and willing to try anything. Their sensitivity and sense of self was most surprising. My goal in creating “Unhinged” was to investigate the journey from our perception of stoic, mature and armoured men, to that of vulnerable, caring and powerful yet compassionate men.

“I began by examining sensorial physicalities, both as individuals and within the group. We then moved to their range of partnering techniques that were accessible and fluid. Approaching the qualities and sensibilities of their movement potential really shaped the work.”



From the Old Men, on why they joined, on learning technique and on how the experience of performing is different from their other personal and professional activities:

Jim Angel, chief information officer at Fleming College responsible for libraries and information technology
“I joined back in 2003 out of curiosity. I like the creative process in general and the idea of a group of men getting together, frolicking, playing, experimenting and creating a performance piece sounded like fun, and it was.

“I value the process of seeing something concrete created from nothing but intention and ideas. I value the respectful way that we as men support each other and that thus far “ego” for the most part has been absent from the process.

“I’ve seen a transition from the early days to the present. We have shifted from the wild, partially improv, play-based pieces that I believe were probably ragged to the eye and part of our charm, to much more intentional, deliberate skill-based presentations. Admittedly, at first I thought learning more technique would limit and constrain things. In the end I think our potential repertoire has actually increased and within a more creative, disciplined environment I think we are evolving.”

Ray Barker, writer, performer, gadabout
“I was hosting a dinner party at the Riverview Art Gallery when George Barron and Michael Hermiston asked if I would join with a group of old men to perform dance work. After the laughter subsided I said sure.

“[I value] the camaraderie and the physical intimacy of creating dance together and the integrity and commitment of the members to dance and to contributing to our community and the world.

“As a physically limited individual, I could not accomplish what the others did and missed the first year of training. However I watched with awe the development of the others’ skills and I gained knowledge that allowed me to perform despite my limitations.”

Jose Botero, information technologist
“I attended the latest fundraising event at the Market Hall. I had one more beer than I usually drink, two instead of one. I should have said no but I said yes; then it was too much fun to quit. I have not raked the leaves nor cleaned the house yet this month due to rehearsals.

“I work in IT; I thought IT users were the fastest to change their minds about what they want. Well, apparently I am still doing parts that were removed from the script the first day. Finally, I am getting what a “creative process” is all about.

“Only one reflection so far [on learning technique]: It is very hard to go from dancing to Shakira’s music to dancing to Franz Schubert, especially if you cannot move your hips.”

Paul Clifford, massage and structural integration therapist
“The whole enterprise (and especially the performing) is challenging, in at least the following realms: emotional, psychological, mental, cultural, spiritual and last and possibly least importantly – physical.”

Peter Earle, part-time human resources director, part-time handyman
“I had never danced; didn’t know anything about it. I knew some of the men, friends, and had seen them dance. One day, one of them suggested I join. I had just gone through a rough period, had time on my hands and felt a need to challenge myself, get out of my head and do something that was really, really scary. So I did.

“Old Men is a very welcoming, open, supportive and fun group. We don’t take ourselves very seriously, but we work hard and want to learn and enjoy. The performance is secondary. I suspect if we never performed nobody would mind. It’s about getting together, exploring a process physically and experiencing the surprising elements that go along with that: learning about ourselves, caring, intimacy, beauty, movement, joy.

“We have worked now with six choreographers. We learn a lot each time, and become physically a little more adept, but it’s not about being great dancers. What’s much more interesting is seeing how each choreographer works, how they engage with an amateur, untrained group and what their experience with us becomes.”

Peter Hewett, social worker
“George Baron called me in the fall of 2001 and asked if I’d be interested in trying to do some dancing with a bunch of other old men. I thought this sounded interesting and at the time was looking for some avenue to explore creativity. Our first meeting as a group was at St. John’s church hall where Michael Hermiston, one of the co-founders with George, arranged for us to wash each others feet, which in one fell swoop challenged our stereotypes and the boundaries of traditional male relationships. The intimacy, openness and quirkiness of the experience had me hooked and excited at what seemed like endless possibilities.

“[I value] the open, expressive, emotional and spiritual connection with a group of men who, without competition or ego, are trying to explore and express themselves through movement.”



Chris Lemieux, natural heritage communications and marketing specialist, Ministry of Natural Resources
“I’ve always wanted to dance and to move. I’ve finally given myself permission to do as I please, everyone else be damned! It’s freeing and fun, and bloody hard work sometimes, but there’s always a huge payback in personal satisfaction when you’ve created something beautiful.

“I spend a lot of my time in my personal and professional activities ‘thinking’. The OMD experience allows me to suspend the thinking and to spend more time ‘feeling and doing’. I value the release and the opportunity to free my mind, as well as my body.”

Brian Ling, retired educator, painter and nature photographer
“It seems that OMD has given me the opportunity to experience a beginning again, not knowing, having no skills in the area and allowing me the space to learn without being judged or compared. This was not true in my professional life. There was an expectation that I was perfect, had it together and so on, which was not true. In some ways I wore the veneer of a mask professionally whereas with OMD I am what I am, and playful at that, which was frowned upon in my professional world.

“Learning greater dance specific skills seemed to take me full circle. I have been very athletic all my life and competed at high levels in many activities. Nevertheless, I see that the journey has taught me to be more playful, be willing to risk more and not be so concerned about technique and outcome. Through all this I then began to ‘become more of a dancer’, whatever that is. Intellectually, it seems reversed to me. I suspect I needed to be freed up first.”

Colin MacAdam, adjudicator who loves to sing and dance
“I joined OMD because of the name. It’s a verb, not a noun. I knew it would be cool. And I joined just when the big project with Bill James began last year.

“I’ve always been willing to perform but OMD has taken me to the deep end of my pool. The choreographers have given us great opportunity to extend ourselves creatively and I think we’ve all wandered beyond safety zones to some great places. It then resonates in different ways in my other lives.”

David McConkey, social worker, ultra-distance trail runner
“I have been moving forward as a runner for years and now adding some new movements in the form of dance as part of the process. One of the positive attributes [of OMD] has been to work on pushing limits beyond how my body is accustomed to move in space and to dedicate time to increasing flexibility in body, mind and spirit. The opportunity to dance with others whom I respect and feel comfortable taking unfamiliar steps with, under the direction of such accomplished choreographers, is a privilege.”

Brian Nichols, retired professor with a private practice as a psychotherapist/play therapist
“My answer initially to the why (eight years ago) [I joined OMD] was that ‘old men dancing’ in a local one-off performance piece sounded like it wouldn’t be a big commitment and it sounded like it could be a blast. Now the why is much different. It is a huge commitment (ten to fifteen hours a week for months on end) but it provides me with such a physical and creative outlet for expression of who I am, and who I want to be, that I cannot give it up. There are options to be in fewer pieces (to not work with each choreographer) but each one (Bill, Marie-Josée, Allen, Tedd and Darryl) provides such an incredible experience that it is hard to choose not to participate. I find myself now building my work and personal life around being available to dance.

“For me the greatest discovery has been the joy of participating in a transparent creative process that involves others and one that leads to public performance. Our work has been really well received not only by our friends in the Peterborough area but also by others who do not personally know us. We have moved from a group of men who got together to eat breakfast and laugh and eventually create a ‘dance’ piece, to a group of committed dancers who are open to explore ourselves through movement that is personal and expressive. Some days I still miss the breakfast part. Our level of ability to move, to hear music and to be aware of each other on stage, because of Bill’s generosity as teacher, has increased dramatically over the past three years and we have not yet peaked! We are getting older and better at expressing ourselves through dance.”

Bob Romerein, engineering consultant and chief technical officer of a cable TV manufacturer
“I have tried not to deconstruct the essence of the group. Whatever it is, it is a rewarding experience to feel the energy.”

Rob Steinman, drama teacher and head of the arts department at a local high school
“Pete Hewett came to my house for dinner after the very first rehearsal of the Old Men Dancing with choreographer Michael Hermiston and described the foot washing ceremony they did. He said that they planned to do a piece for Emergency, Peterborough New Dance’s yearly local dance showcase. I was intrigued and said, ‘is it to late to get involved?’ I joined at the second rehearsal.

“Old Men Dancing has provided a creative outlet in an atmosphere of comradeship, unlike any other group I have performed or worked with. I think because we all began as novices, were involved in a lot of creative play in the early years, and felt that the process was as important as the product, that it evolved as a rather unique group.”



On the most surprising or meaningful discovery from working with OMD:

“The generosity, the setting aside of ego, the depth to which these men commit themselves and really honour and support one another. And the fact that they all really LOVE to dance. They are a funny and irreverent group on the whole, and they put their souls into dancing in a way that is incredibly refreshing. They are truly inspiring!”
– Bill James

“I was pretty amazed at their openness; they will try anything with full generosity and commitment. In my piece they sing, dance, speak, howl like wolves, yap like chihuahuas, perform circus tricks, roll like waves and fly like beautiful birds. What more can I ask for?”
– Marie-Josée Chartier

“A real perspective on the value in engagement.”
– DA Hoskins

“The strength, uncompromising integrity and connectivity of the group. Their honesty and ability to tap into and identify with their vulnerable selves as well as be completely immersed in their respective roles was the most transformative experience for me.”
– Allen Kaeja

“I can ‘do it’, and I love to do it. And ­– for some reason or other – the choreographers all seem to really, really like working with us!"
– Paul Clifford

“That I have ‘presence’ as a performer on stage and that I can create meaningful performance that communicates to the audience. I was also in awe of how Bill James’ training techniques could increase the strength and flexibility of one’s body. One member cured his flat feet.”
– Ray Barker

“I like doing it, even though I still find it intimidating. Even though many of us do not see each other outside of the group, there is a powerful bond that exists among us as a result of doing this work.”
– Peter Earle

“The importance of being sensual.”
– Jose Botero

“I feel we have just scratched the surface …”
– Jim Angel



Atlas Moves Watching presents Old Men Dancing in premieres by Tedd Robinson and David Earle, along with work by Bill James and Allen Kaeja from December 3rd through 5th at Market Hall Performing Arts Centre, Peterborough. OMD’s program Older and Still Gorgeous (Do Not Resuscitate), with choreography by Marie-Josée Chartier, DA Hoskins, Kaeja and James, runs March 26th and 27th, 2010 at the Enwave Theatre, Toronto.

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