Mocean Dance

Saturday, 18 January 2014

Productive Instability: the art of fragmentation, coordination and creativity

In rehearsal with Sara Coffin and Mocean Dancers: J. Armstrong, R. Baker, S.Rozee

I am in the last leg of rehearsals with Mocean Dance as we prepare for the USA premiere/MFA Thesis Concert presentation of my new work entitled Body Abandoned at Smith College in Northampton, MA. The new trio will premiere on the Theatre 14 stage February 6-8, 2014 at the college. Then ten weeks later we will grace the Halifax stage April 24-26 at the Dunn Theatre with Live Art Dance’s closing show for the 2013-14 season.

Two-weeks after that the whole project will come to close/full fruition for me, when I defend the written portion of my thesis and I will be able to walk away with the letters M. F. A. following my trail!

…..I need to lay down …just by catching you the reader up on the logistical flow of the piece makes my head spin….. and I haven’t even got to sharing the content or the process yet.

Dancers Jacinte Armstrong and Rhonda Baker

But the fruits of this work is a real marker for all involved, this project encompasses a lot for both the company and for me personally. I am grateful for the commitment and the support that the new work and I have received from both sides of the border during its creation.

The content of the work is inspired by what I have been coining as my “blue period” – Picasso stuck with his monochrome tones, me, I am sticking with VGA cables and projectors! However, I think I have finally gotten to the essence of my ideological question, one that focus on our existence and the posthuman-machine connection. I may have come to my end point in the interrogation of the body’s relationship to technology, but I am happy, really happy with the product of my research.

The dancers: Jacinte Armstrong, Rhonda Baker and Mocean-founder Sarah Rozee have been real star troopers during the creation. I feel so blessed for the depth of research, commitment and literally the distance they have traveled with me during my inquiry.

Dancer Sarah Rozee

Wearing the two hats of graduate student and commissioned choreographer has been an interesting challenge in this beast of a production. However, I feel that a part of my MFA research and study have filtered through the process in an osmosis fashion and a bit of my experience has definitely been shared by all.

In our first working period, Mocean Dance was fortunate enough to host Smith Faculty members Chris Aiken and Angie Hauser for four days in June. During this time they offered master classes and workshops for the community while mentoring me in the studio.


Swell Contact Improvisation Intensive and Eco-Poetic Approach to Performance workshop participants.

June 2013

with Chris Aiken and Angie Hauser

MFA Advisor Chris Aiken in session "working the work"

During the second phase of creation Mocean Dance joined me in Northampton and we worked in an empty theatre all to ourselves for a week! Meanwhile my American cohorts were off relaxing on the American Thanksgiving break.

In this phase of creation multimedia collaborator Andrew Hawryshkewich and I worked remotely, sharing files back and forth, and I stayed up late for technical coaching on skype from the west coast.

The dancers were able to test drive the performance space and the sense of the bigger picture or the 'ness' of the piece started to sink in for both me and the dancers. Like the regular star troopers that J, R and S are, the dancers patiently waited and diligently kept working as I tracked the five components: the action/movement, the mediated image, the space, the music and the gestalt of it all.

Now - here in the third leg of creation, back in Halifax, all the hard work is really resonating and vibrating in the studio. We ran part of the piece on Friday and I was in awe and touched by the how far the dancers continue to stretch themselves.

In preparation for the Smith MFA Thesis concert my fellow grads and I have selected a quote from the book: A Choreographic Mind by SusanRehorst, one that really highlights our state of research:

“One has to know and not know, prefer and not prefer, empty oneself and acknowledge one’s fullness, be passive and charged. It has to happen to you and from you. It has to be too fast for you to take in, and done in baby steps, one leaking into the other.”

In the process of this work, I have interrogated my tendencies, embraced my strengths, questioned my doubts, sought new perspectives, and now my skin is raw but my heart is strong. Within the disorientation and bewilderment of my growing pains a new clarity has surfaced*, one that I can feel resonating straight from the core of my bones.

*Note: This line is inspired by and drawn from our Choreographers' Notes crafted for the
Smith MFA Thesis Dance Concert Program written by Shaina Cantino.

Theatre 14 Technical Residency at Smith College

In the last 100 meter dash before the curtain rises and the dancers take the stage I am filled with much anticipation and a giant check list.

I coordinate stop watches and emails as I finish the final music and multimedia adjustments (via online communication and file sharing) with my remote collaborators; Phil Thomson and Andrew Hawryshkewich respectively.

I keep an watchful eye on the post, as the costumes are arriving by mail from Smith College... and I am watching the snow report praying for clear driving days.

Saturday, 11 January 2014

We will make better mistakes tomorrow

The Brooke Chronicles

Choreographic Residency

Fredericton, New Brunswick

December 30, 2013-Jan 10th, 2014

Posted by: Darryl Tracy

Last year at this time I was touring with Mocean Dance and Lesandra Dodson. We were on what we called the ‘Deep Freeze Tour’ but was actually The Trilogy Project. I was there as a dancer. A great team and incredible experiences. I was sad that time had passed. It didnt want it to be over. While en route to Winnipeg from Fredericton, Lesandra Dodson suggested I be the Artist in Residence for this year at the warm and creative Charlotte Street Arts Centre. I had spent many rehearsals in the auditorium as well as in Dianne Garrett’s space (Artemis Dance) creating with Lesandra as an interpreter. Now it was my turn to work out some creative ideas.

It was an incredible residency. We hosted a Summer intensive in July 2013 at CSAC. Young dancers from Fredericton spent an intense week exploring conditioning,modern and creation with me, ballet with the amazing Dianne and sound/hip-hop and theatre with local artists including Lisa Ross. In only one week these young artists were revving up novel ways in movement and artistic expression. The final showing for the parents was quite inspiring. I had not really worked with dancers that young and at first was somewhat nervous as what skill sets I would use to communicate and inspire them. So while they explored, I grew tremendously as a teacher and communicator.

I am originally from New Brunswick and my family and many friends are here throughout Atlantic Canada. Although I am now based in Toronto, these artistic bonds seem to deepen and the pull back East seems to be more regular. The end of October, I returned to Halifax (not part of this Residency) to remount “A leash for two hounds” with Susanne Chui (Mocean Dance repertoire). I was happy to be back dancing with her. She is intuitive and a versatile performer and an interpreter I feel very at home with on stage. The trust I can place in her is immense. Classes at Halifax Dance- again I feel at home. We are joined by Lesandra Dodson and Jacinte Armstrong and hit Moncton and the Atlantic Dance Festival. More bonds and more ties are created.

I had a very busy fall as I produced a large scale show in Toronto entitled ‘vital signs’ and was joined by Toronto’s

Susanne & Lesandra

incredible Heidi Strauss to investigate old works of ours (we had a company called Four Chambers dance projects) as well as new works. It was a huge undertaking. I also had a new creation on the dancers at The School of Toronto Dance Theatre. Considering all of this, I was ecstatic to come back to New Brunswick for the holidays and to hunker into a creative lab at the Charlotte Street Arts Center.

As a choreographer, I am often commissioned to do works and often a product/production is to follow soon into the creative process. IncuBator2 was designed to give me studio space and some collaborative dancers to play/create/provoke my tendencies and perhaps go into new terrain. I was excited and nervous.

I brought together an incredible group of dancers. Susanne Chui (Halifax/Mocean Dance), Charles Cardin-Bourbeau (Ottawa/Montreal), Austin Fagan (Toronto) and Amanda LaRusic (Toronto/Truro). I had varied experiences with each of them and this was the first time they would work together as an ensemble. Lesandra Dodson is well versed in a choreographic lab. She has a long history with Ottawa’s le groupe de la place royale as a dancer and choreographer. She was my outside eye and mentor. In the studio, her aesthetic point of view is strong and clear. She continues to always ask and seek clarity in work and she is not afraid to try new things. She is meticulous and relentless. I knew having her as my mentor would be good for me.

New Year's Eve Party

Jeff Staflund & Darryl

Week one (December 30th is Day 1)-we all gather and the Center is quiet-the city is till on Christmas time. We have company class every morning with accompaniment first week by my host Jeff Staflund. He used to play for class in Winnipeg and now resides in Fredericton-more connections. Immediately the dancers bond. Jokes emerge of the TV show “Dance Moms”-the dancers all acquire show names and I get donned the name of Abbie Lee Miller-the bossy and manipulative rather rotund choreographer/teacher. Austin is Brooke-the one always at the bottom of the pyramid. With this kind of camraderie and play, I knew the studio energy would be productive and safe-I could exhale (well a bit)

In the studio, I was exploring the tissues of the human body. I was wanting to use some of my experience as a clinician (physiotherapist) to investigate how this could be a starting point. We played with breath/sound and movement studies. Connective tissue (connects), epithelial tissue (blankets/covers and supports), muscle tissue contracts/pushes and nervous system (electric). Group organisms morphed and tableaus and portraits appeared. The work was starting to take a directive in week 1.

Amanda LaRusic & Charles Bourbeau-Cardin

Lesandra knows me as a dancer and as a friend. I like to be organized. ?right/left brained. I received tasks: to come to the studio unprepared (that was a hard day), to try something humourous/funny, she told me to keep dissecting small phrases. Tough, funny,antics...the dancers all look at me “What do you mean? This seems real heady”. Gulp! Habitually, I go nestle by the window and look outside to see if maybe something will speak to me. Large six foot snowbanks, gargantuan icicles hang from homes, the city seems frozen. Not much is moving. We will make better mistakes tomorrow.

The beginning of Week 2, I felt heavy (not because I was named Abbie Lee) but from all the questions. I was doubting myself. Seeing old habits emerge when I was unsure. Personality traits (of my own) that affected the clarity in my process. I had a lot of support from the dancers and Miss Dodson and I/we pushed forward. I learned a lot about time inside the studio and the importance of trust. I witnessed the importance of how hard work and freedom need to partner each other. Gut instincts can be a good thing but to not rely on them too heavily nor quickly. Levity is a good thing. (I guess very basic principles in any walk of life not just in the studio).

Austin Fagan

I took class with the dancers every day and when listening to the live music and dancing/performing the physical exercises to even Chaka Khan’s dance tmix “It’s Not Over”-Brooke’s favorite...I realized how much I love the practices inside dancing.

The week-end between the 2 week residency-I held a Teacher’s Seminar entitled “Motor Learning”. A warm and open group of inspiring teachers spent a cold Saturday with me in the studio looking at movement habits and trends. As I lectured with Lesandra sitting by my side (I listened to what i was saying and hearing some of the information for the first time-I become humbled.) I discover new things about sharing information and the dissemination of information.

The 2 male dancers mustered up a lot of energy with the locals becoming local dance celebs. “Boom! says hello to Austin & Charles!!!” We had a showing on the Friday night. The dancers really amped the work up and again I saw the material and potential in yet a new way. I am now sitting at the Fredericton airport waiting for my flight back to Toronto. I feel satiated and inspired. I am already homesick for Nia, Maddy, Brooke and Kendall aka Mandy, Susanne, Austin (F-Face) and Charles-all of them-I have completely fallen in love with. I will miss my morning ritual of bringing the auditorium to life with the beautiful long windows & Mother Nature’s inspiring and ever changing lighting plot. Rolling on the warped and wooden floor that had it’s own personality. It was fun playing. Through the frosted windows of Charlotte Street Arts Center-I can see a bit more clearly.

It’s Not Over!!!!

oxox

Darryl

Many many thanks to Mocean Dance for partnering and supporting me in this project! Huge thanks to ArtsNB, Buddies in Bad Times Theatre (Toronto), Charlotte Street Arts Centre, Tim and Angeline. Also thanks to Jeff/Hugh, Lesandra and Mark Jarman for housing us. Big thanks to the beautiful dancers and to Lesandra for giving me this amazing gift and opportunity! xd

In the studio with Darryl Tracy

Incubator Lab II: Choreographic Residency with Darryl Tracy

Wednesday, January 8th, 2014
Fredericton, New Brunswick
Posted by: Susanne Chui

Charles Cardin-Boubeau, Amanda LaRusic, Austin Fagan, Darryl Tracy & me (Susanne Chui)

For the past 2 weeks I’ve been in Fredericton working with Darryl Tracy in a Choreographic Residency hosted by the Charlotte Street Arts Centre. One of my absolute favorite places to work, the Centre is a beautiful old building (previously a school) that has a gym turned studio. I love the classical proportions of this room, the seem to be the perfect dimensions for a dance studio, and the white walls, high ceilings and handsome tall windows (that cast ever changing silhouettes of sunlight throughout the day) make it a very charming, inviting and creative space. Being here reminds me of how important a beautiful studio is for inspiration.

Despite the frigid temperatures outside and the mountains of snow, the studio is hot with creatively. I’m pleased to be joined by a trio of very talented, committed and wildly fun group of dancers. Charles Cardin-Bourbeau (a fellow Leo) is the youngest of the group. A fresh grad from Ottawa School of Dance, he has never worked with Darryl before. We seem to be paired together quite a bit and I enjoyed dancing with him. A former gymnast and competition dancer turned contemporary, he moves with a fluid groundedness and sensitivity that makes him a great partner. Austin Fagen, (aka Brook, amoung other nicknames lovingly given to him by Darryl) is a Ryerson grad. A lithe and expressive mover, he brings spunkiness and a hilarious sense of humor to the studio, making this week so much fun. He and I get lifted, turned, dragged and pushed across the room with wild abandon. My female cohort is the beautiful Amanda LaRusic. A TDT grad, Amanda moves with a soft grace and delicate attention that I admire, along with limbs that extend endlessly into space. A fellow Nova Scotian Amanda hails from Truro but is currently based in Toronto. Bringing her keen eye and expertise as a mentor to the process is Lesandra Dodson, one of my absolute favorite choreographers, who is currently director of the Centre.

Then of course there is Darryl. These two weeks are about him; about pushing his creative process, not worrying about product or outcome but having the time to explore, dig deep and expand his creative palette. At the beginning of the process Darryl explained that most of his choreographic work is done with students, where he has a very little time to create, is in the role of a teacher and has to be very product driven. He admits that he is very good at making movement quickly, composing sequences and putting together a piece lickedly split. He has a system, but he rarely has a chance to explore an idea deeply or to develop sophisticated themes. For this residency his goals have been not so much to create a piece but to work on ‘how he makes work’ and to commit to exploring a specific theme. So far Darryl seems to be on track (with only perhaps a few detours and derailments along the way). Although he started from a familiar place he appears to pushing himself to work outside of his comfort zone and stick to his and Lesandra’s tasks, such as ‘working without a plan’ (a very difficult one for Darryl who is a serial planner), mining his material for detail, not jumping ahead to create a ‘piece’, choreographing without music, exploring text and breath, finding humour in the work, directing actions versus having to choreograph every move, among others. It appears that some days have felt more productive to Darryl than others but that overall there is an understanding that every experience, frustrating or enjoyable, are an important part of the process.

I feel very honored and humbled to be part of this residency, to support Darryl in this key moment in his evolution as a choreographer, where he is reflecting on himself and his process, while allowing himself to be open and vulnerable to the unknown. It is times like this that I appreciate the work that we do as artists - work that values process over product, merits questioning, exploring, creating, destroying, failing, laughing, crying, awkwardness, ugliness, beauty and all within the context of the live human body.

One of the themes that Darryl has been working with is ‘tissues in the human body,’ (unusually drawing directly from his
physiotherapy knowledge) exploring how tissues interact, change, destroy and attack each other, exist in harmony and in conflict, and are in an ever-changing state of flux. This I would say has not only been a theme for the studio but could also be metaphor for his journey these past two weeks. Good work DT. Thank you to Darryl, the dancers, Lesandra and the Charlotte Street Arts Centre for an inspiring residency.

- Susanne

Friday, 18 October 2013

My Mother's Kitchen - Choreographer's Musings

In the name of Sarah Bonnemaison's installation and performance exhibition entitled: My Mother's Kitchen, the Exhibition Hall in Dalhousie's School of Architecture has become a creative hotbed for explorations in technology, furniture moveability, movement, and costume design.

As the choreographer for this project I am thrilled to be working with Susanne Chui, Sarah Rozee and Jacinte Armstrong of Mocean Dance alongside architect and art director Sarah Bonnemaison, media artist Lukas Pearse, costumer/ textile artist Robin Muller and computer programmer Ben Swinden. Thanks to Sarah Bonnemaison for her generosity of spirit and her intellectual rigour, and for giving me the space to explore my own ideas so thoroughly with the dancers. I am enjoying the integration of conceptual, historical and practical investigation. I am excited by the intellectual level of conversation that the dancers are prepared to have as part of our explorations. These dancers are intellectual movers and thinkers with a ''can do" attitude that supports the depth of research that layers this project. More importantly is their willingness to experiment with physicalising concepts as part of the transposition into movement ideas. We are finding some wonderfully appropriate and sophisticated movement ideas that support the underlying concepts of the project.

Then there is the active interdisciplinarity of the project in the room. Over the past two weeks we have made great progress in bringing the research together. It is easy to separate off and work in discipline-isolation on a project. Arguably that is how most collaborations go. However, it can't work effectively to do that in this case (or in any really, in my opinion.) Mocean Dance and I are working towards a 30 minute performance that will take place in an existing installation exhibition and so it is crucial that part of the process includes discussion about the elements of interaction already expected to be established in the installation components, and as a continuation of that discussion those expected to be used in the performance by the dancers. I am not interested in duplicating the existing interaction experience for the viewer in the performance. By establishing a time frame on the performance of 30 minutes I want this interaction to be adventurous, creative and rigorous, enhancing less apparent aspects of the research while revealing both our discipline-specific and our interdisciplinary collaborative process(es) in performance.

We are working with 5 kitchen zones that span decades and countries- each zone has its own kitchen design and specific interactive components. It has been rewarding to locate the different research ideas across disciplines within each of these kitchen zones. We now feel like we are working towards a common goal and this will allow us to explore ideas together, informed and influenced by each other. The time working independently of other disciplines was of course important, however the heart of the work is in bringing these ideas together- to animate the exhibition and to build connections between design, motion, and interaction across the entire exhibition site.

We opened the doors on our experiments on Wednesday 16th October. Fresh eyes brought useful and passionate perspectives and we are able to continue these explorations knowing that the connections are reading to people outside of our immediate working environment, and supporting Sarah Bonnemaison's core ideas. I look forward to the rest of this process. I am so happy that we get to develop this further for the premiere in May 2014. I can look forward to spending more time in Halifax, which has stolen a piece of my heart as has the gracious and talented Mocean!

Balancing Hats on for Mocean, Hats off to the D:MiC Festival!

We had our opening night performance at the Dance: Made in Canada Festival in Toronto and we were received with warm enthusiasm and delight. It's exiting to be apart of such beautiful dancing on stage at the festival in the T dot!

We are thrilled to be sharing Canvas 5 x 5 with such a striking program curated by dance photographer Cylla von Tiedmann. Performing alongside us at the Betty Oliphant Theatre is an intimate duet by Louis Laberg-Cote and a fierce solo by Lucy Rupert of Blue Ceiling Dance.

Von Tiedmann's cutatorial selection and program notes read with strength and sophistication, seen in both the choreography and performance of all three works.

.... the sublime ability of dancers to tell a narrative through movement, projecting their ideas into the depth of their bodies as much as into emotional and ephemeral worlds. The body becoming, the brush, the word, the instant of expression....

- Von Tiedemann

This time around settling in and warming to the stage has been a breeze and I am sure it has contributed to the stunning performance by our ladies of Mocean Dance.

Helping us transition back to the vast Betty Oliphant stage was supported by "Sarge," Mocean's TD Marcel Boulet who flew in with us to oversee and produce the quickest cue building around, the lovely festival stage manager Jeff Morris, the highly organized and bubbly festival producer Yvonne Ng, and of course all the amazing technical team and support staff.

Touring Canvas 5 x 5 regionally this year, the piece has expanded and contracting, and gone through the wringer of all possible parameters for performance. So now back on the big stage the dancers have felt the ceiling lift and have room to breath and play again, finding a welcomed similarity to our Halifax premiere at the Dunn!

The dancers have a few more steps and a bigger thrust in intent to traverse the broad width of the stage, but they can also feel the support of the space above as they balance their hats.

Our tech run and smooth transition to the vast Betty Olipant theatre

Sarge on site with his fancy new T dot tech boot purchase!

Unable to join us, Tedd has still managed to be with us via his "new choreographer" techniques, on call and receiving reports via texting. The photo below is my text to Tedd keeping him in the loop about the T dot booms and seeing the lighting results.


Comparative techniques in the tech: video below, live lx checking above!

True to the Maritime mafia style we found a hometown local piper in Toronto to add to our Celtic force.

Piper Rob Noble joined us on stage in Toronto. Taking a quick break from his technician schedule, this Fredericton piper was pleased to pull out his pipes and feel his maritime roots again, a contrast to his normal T dot rhythm.

Bagpiper Rob Nobel goes through the "P Bragh" notes with Susanne

"I have chosen these three choreographers because of their skill, elegance and profound voice. There is simplicity and honesty here, combined with sophistication and intelligence. I sincerely hope you share the enthusiasm for this program."

- Von Tiedemann

We love Dance: Made in Canada!

Thank you Yvonne for such a great festival! Warm, organized, and stunning programing in every series!

-Sara

Thursday, 8 August 2013

Out like a Lion!

dance: made in canada/fait au canada
Mocean is pleased to announce our participation in this year's dance: made in canada festival in Toronto, where we'll be presenting Tedd Robinson's masterful Canvas 5 x 5, August 15-17. Visit the festival producers' website: Princess Productions, to learn more.

You can also be part of the festival from afar by contributing to the festival’s Audience Choice Awards, and then vote for your favorite show -- Mocean Dance of course!

Save the Date: September 14-15 for Burnwater
A major collaborative project that you won't want to miss, Burnwater is shaping up to be a multidisciplinary extravaganza. In partnership with sound artist Erin Donovan of Hear Here Productions, and Chris Little and Theo Pitsiavas of lohifi Productions we're creating an outdoor, site-specific work involving percussionists, puppeteers, and blacksmith/sculptor John Little. The performance will take place on Little’s dazzlingly scenic property in East Dover (just outside the city of Halifax), and will feature his monumental sound sculptures, which provide a visual and audio backdrop as dancers Rhonda Baker, Jacinte Armstrong and Susanne Chui weave their magic. There will be two shows (3-4 PM & 7-8 PM) each day; but spaces are extremely limited, so contact us as soon as possible if you're interested in attending.

On the "set" of Burnwater with Susane Chui, Darcy Gray, Jacinte Armstrong, John Little & Rhonda Baker

New work: body abandoned launched

Closing the season in late June, we were treated to a sneak-peek early into the creation process for our new work body abandoned, created by Artistic Associate Sara Coffin. This new piece will explore the body's relationship to technology and our sense of self that stretches beyond the skin’s border. Sara was joined by Vancouver-based multimedia designer Andrew Hawryshkewich (thanks to funding by Arts Nova Scotia), who is working with her on the tech side of this complex and fascinating piece. Dancers working on the project include Rhonda Baker, Jacinte Armstrong, Mocean co-founder Sarah Rozee, and our Fresh Tracks program mentee, Vivika Ballard. We look forward to its official premiere in Halifax in April, 2014 at the Sir James Dunn Theatre, where it will be unveiled by Live Art Dance Productions (contact them to buy your season subscription ticket -- they're available now!).

Sarah Rozee, Jacinte Armstrong and Rhonda Baker working at Halifax Dance Studios on Sara Coffin's body abandoned

Swell: Contact Improv Workshop

Mocean recently organized and presented a well-attended contact improvisation workshop, which was open to movers of all levels of experience. They came from near and far to take part in an "eco-poetic" creative learning opportunity, which included an open contact jam. Internationally acclaimed teachers, artists and improvisers, Chris Aiken and Angie Hauser from Smith College, Massachusetts lead the group from June 20-23. Many heartfelt thanks from Mocean Dance and the community to the Nova Scotia Department of Communities, Culture, and Heritage's Cultural Activities Program, whose support assisted in our workshop presentation; to our venue sponsor, Dance Nova Scotia, who assisted in hosting this great event; and to our generous accommodations hosts Catherine & John Lazier (for billeting Chris, Angie and Ruby!).
To receive notices of our future workshops, company classes, and other opportunities, drop us a line.

Swell Improvisation Workshop in full swing

Rite of Spring Fling!

Dancers throw their Rite of Spring shadows behind painter Holly Carr's silk panels

Thanks to all who attended our first Rite of Spring Fling! fundraiser on June 8th. We not only raised funds, we had a lot of fun . . . and we hope you did too! Be sure to check out the event photos on our website. We couldn't have done it without painter extraordinaire Holly Carr, and the stellar dance artists who generously donated their time and talent: Jacinte Armstrong, Rhonda Baker, Vivika Ballard, Kathleen Doherty, Ruth-Ellen Kroll-Jackson, Sarah Rozee; and musicians Doug Cameron and Tim Crofts. Poet/spoken word artist Shauntay Grant rounded out the artistic offerings with her incredibly sensuous poetry, and swing band Jack's Cats played us out the door and into the warm spring evening.

Heartfelt thanks also go out to:

Our MC Norma Lee MacLeod, and our hard-working fundraising committee; sponsors: Joan & Jack Craig; corporate sponsors: InnovaCorp; in-kind: etc.press, The Coast, Woozles Children's Bookstore; our Cakewalk Ringleader, the inimitable Ben Stone; and DJ Regalia, our soulful in-house DJ.

Silent Auction donors:
Aerobics First
Bishop's Cellar (Kevin Schwenker )
Terry Chisholm
Pam Scott Crace
Adrian Fish
Wally Fraser
The Goatworks African Drums
Human Landscape Dance (Susan Cook)
Jack's Cats
Jane's Next Door
Lakeland Plant World
Larry Hayes & Sharon Nicolle
Live Art Dance Productions
Hydrostone Osteopathy (Elise Vanderborght)
Interface Carpet
Susan Malmstrom
My Mother's Bloomers
Anne Muecke
Neptune Theatre
NSCAD Art Supply Store
Victoria Parker
Lynn Rotin
Snazz (Michele Chui)
Thumpers Salon
You Two Can Tango
Urban Retreat Massage
Marjorie Willison
Woozles Children's Bookstore

And more: Cakewalk donors: Fruition, Gingerbread Haus, Elise Vanderborght, Layers, Judy Fraser, Nancy Bessette; other fun stuff included: Jewelry Table by Sacha Hanarahan, origami station by Nicole Arsenault & Marla McLeod; Spring Forecasts (tarot cards read by) Madame Tabia. Our Photographer: Martin Grahovski; and the beautiful decorations were created by Susan Warr.

Rite of Spring Fling! at the Dalhousie University Club, June 8

End of Season Thanks

Even as we look forward to our 2013-14 season, we also want to look back at what a fantastic 2012-13 we just had, thanks, in part, to the generosity of our individual donors.

A big round of applause to:

Margaret & David Fountain
Joan & Jack Craig
David & Colline Perrier
Dr. Thomas & Gloria Chui
Ewa Jachimowicz-Quinn
Maria Jachimowicz
Anne Muecke
Charles Baxter
Larry Hayes & Sharon Nicolle
Donald Sinclair
Fraser & Hoyt
James Rogers
Donna & Dwain Corbin
Pamela Scott Crace
Cassidy Bankson
Sacha Hanarahan
Catherine Lazier
Chris & Dianne Coffin
Barbara Richman
Kam Chung/The Chung Group
Nancy Spencer
L. Robert & Jean Shaw
Marcella Abugov
Dr. Harris & Holly Crooks
Bradford Productions
Kevin Schwenker
Thomas Fitzgerald
Donald Blakeley
Paul Caskey & Elise Vanderborght
Gay Hauser & Stephen Osler
Mr. & Mrs. Carl Yates
Nadine LaRoche
Anonymous

Choreographers' Circle Members:
Catherine Lazier
Alex MacLean
Sue Leblanc

Did you know that the largest expense incurred here at Mocean Dance, by far, is paying dancers to dance? We are proud to say that it is! We also contract other artists, such as choreographers, composers, musicians, lighting designers and technicians, costume designers, and more. But we can't do it without you. Please donate today by clicking the CanadaHelps button above. Any amount is appreciated, and we are happy to provide you with a charitable receipt.

Photo credits for this emocean newsletter: Header (dancer Rhonda Baker) by Holly Crooks; Rite of Spring Fling! images by Martin Grahovski; all others by Mocean Dance staff & friends

Out like a Lion!

A photo capture of our end of season activities