Nac Dance With Cathy Levy

In this second of two episodes, we learn that London has been a city of opportunity for Hofesh Shechter. In 2007 its three major venues, Sadler’s Wells, Southbank Centre and The Place, invite him to develop and present a full evening of work. He creates the complex piece In your rooms. Hofesh chats about the choreographies he has since created for companies such as Cedar Lake Contemporary Ballet, Scottish Dance Theatre and Carte Blanche, as well as for the UK Chanel 4 series Skins. He shares some details of his full-length work that premiered at the Brighton Festival in May 2010. In closing, he comments on his return to Israel with Hofesh Shechter Company.

In this first of two episodes, Israeli-born and UK-based contemporary artist Hofesh Shechter, former rock drummer and dancer with Batsheva Dance Company, talks about striking out on his own as a choreographer. An encounter with John Ashford, Theatre Director at The Place in London, UK, mentor to numerous artists and presenters, results in an invitation to become an associate artist of The Place where he creates a group piece that receives an audience award. Hofesh goes on to describe his early and ongoing relationship to music.

In this final episode, Edouard Lock talks about his collaborations with David Bowie and Frank Zappa, and creating work for the Ballet de l’Opéra de Paris. He expands on his notion of evolution and revolution in the context of Amelia and Amjad, tells us about the process of transposing Amelia to film, and shares some details of his new work. Prompted, he talks about music, the significance of honours and awards and audience feedback.

In this second of three episodes, Edouard Lock challenges the notion that the movement vocabulary of his early works is violent and explains how the accompanying music contributed to this perception. He then talks about his other choreographies, what inspires him to create, his first international commission for the Het Nationale Ballet of Holland –directed at the time by Rudi Van Dantzig—and the introduction of pointe work into his productions.

In this first of three episodes, Edouard Lock, choreographer and Artistic Director of Montreal-based La La La Human Steps, recalls his family’s move to Canada and the period and events that led to the creation of La La La Human Steps including his involvement with Le Groupe Nouvelle Aire and Les Grands Ballets Canadiens de Montréal. Edouard comments on first choreographies Lily Marlene in the Jungle, Oranges and Businessman in the Process of Becoming an Angel and the sensation they caused. The episode concludes with Edouard speaking about his muse Louise Lecavalier.

In this last episode, Wayne McGregor talks about his future projects, including his first full-length piece for Paris Opera Ballet, his first virtual reality ballet, his collaboration with Mark-Anthony Turnage, and Big Dance Trafalgar Square for the 2012 London Olympics. Wayne describes his involvement in Harry Potter and the Goblet of Fire, opera, and with Dame Judi Dench and Andrew Lloyd Webber. We also learn about Akili, the retreat on an island along the coast of Kenya which he founded in 2006, and the significance of receiving a CBE (Commander of the Order of the British Empire).

In this second episode, Wayne McGregor reflects on his dancing career, describes the point of departure in his creative process, and what fascinates him as a contemporary choreographer. He then speaks of his groundbreaking collaborations and ongoing investigations into the relationship between body and space with British and American cognitive scientists which is contributing to his artistic development. Also, he touches on his association with The Royal Ballet, Stuttgart Ballet and The National Ballet of Canada.

In this first of three episodes, Wayne McGregor, choreographer and Artistic Director of UK-based Wayne McGregor | Random Dance, talks about his youth and his early and active involvement with dance, theatre and computers. Summer employment during his studies in choreography and semiotics at the University of Leeds triggers a lifelong interest in exploring the connection between body and brain. Following a brief stay in New York, he returns to London and forms his company. Wayne explains the role that John Ashford, Theatre Director of The Place, played in his early career and success.

In this final episode, Sidi Larbi Cherkaoui describes his introduction to the world of oral traditional music and the place music occupies in his creative process. He also comments on his reaction to first seeing the work of Akram Khan, Pina Bausch and Dave St-Pierre, and to receiving the Alfred Toëpfer Stiftung Kairos prize in recognition of his artistic philosophy and quest for cultural dialogue.

In this second episode, Sidi Larbi Cherkaoui explains that his dance work Babel is a continuation of Foi, Myth, Zero Degrees and Sutra. He then comments on his collaborations with the monks of China’s Shaolin temple, Les Ballets de Monte Carlo, Cullberg Ballet, and The Royal Danish Ballet.

In this first of three episodes, Flemish-Moroccan choreographer-dancer Sidi Larbi Cherkaoui speaks about his late introduction to dance and how winning a Belgian dance contest put him on the path of Wim Vandekeybus and Alain Platel. While studying at PARTS, the school founded by Anne Teresa De Keersmaeker and Bernard Foccroulle, Larbi is exposed to the work of William Forsythe, Trisha Brown and Pina Bausch which combines sociological knowledge and dance. This approach resonates deeply with him. He joins les ballets C de la B and, within a few years, creates a series of highly-acclaimed dance works.

In this third and last episode, Alain Platel explains how Gerard Mortier persuades him to resume his choreographic career with the creation of the controversial theatre work Wolfe based on Mozart for the Ruhrtriennale. This work is followed by the equally grand vsprs and pitié! with music by Fabrizio Cassol, and Out of Context - for Pina named production of the year by Ballet-Tanz. Alain tells us what moved him to add the words “for Pina” to the title. The interview ends with personal thoughts on influence and posterity.

In this second episode, Alain Platel elaborates on the international success of Bonjour Madame and reflects on the ephemeral nature of a theatre performance. He then explains that encounters with creative individuals throughout his career have inspired the development of new work. At the height of his career and following Moeder en Kind, La Tristeza Complice, Bernadetje, lets op Bach, and Allemaal Indiaan, Alain shocks the world of dance by announcing his retirement.

In this first of three episodes we meet Alain Platel, the trailblazing founder and director of Belgian contemporary dance company les ballets C de la B. Alain describes the period leading up to his initial career as a remedial educationalist, how a theatre hobby quickly turns into a full-time choreographic career and the founding of les ballets C de la B, and the creation of its breakthrough piece Bonjour Madame. He comments on the Flemish choreographic art of the period and its influence on contemporary dance.

In this final episode, Cathy Levy talks about the growing diversity in the world of dance. Prompted, she shares anecdotes on high, challenging and hilarious moments in her 10-year career as NAC Dance Producer. She then comments on dance for youth and using dance to address controversial subjects. She concludes the interview with her wish list for the coming 10 years.

In this second episode, Cathy Levy describes her early love of dance which leads to dance studies at the University of Waterloo and Simon Fraser University. She outlines her path to becoming a dance producer, and defines the position and her mandate for presenting Canadian and international dance artists. She then comments on the value of cultivating relationships with and supporting artists and companies, both established and emerging.

In this first of three episodes, Cathy Levy, Dance Producer at Canada’s National Arts Centre, reflects on her goals and accomplishments since joining the NAC in 2000, and on the place dance occupies within the NAC. She describes ongoing efforts to build on the existing NAC audience base, answers the question of the day “Is ballet over?”, and comments on cinema broadcasts and dance on film.

In this final episode, Tedd Robinson talks about the period from 1994 to 2000 during which he becomes a practicing Zen monk, and his subsequent move to a farm in the Pontiac region of Quebec which he converts into a centre for creation, mentoring and site-specific performance and names La B.A.R.N. Tedd speaks of past and future projects and collaborations, including those with local b-boys, Mako Kawano, Louise Lecavalier and Margie Gillis. In closing, he pays homage to the National Arts Centre.

In this second episode, Tedd Robinson reflects on his six years as Artistic Director of Winnipeg’s Contemporary Dancers and on his decision to leave to company in 1990 to begin a new chapter in his artistic life in Ottawa where he becomes resident artist at Le Groupe Dance Lab. An unexpected opportunity kick-starts his solo career. Tedd speaks of this period of newfound independence as a dancer, choreographer, mentor and teacher.

In this first of three episodes, Tedd Robinson shares his gradual journey to becoming an artist working in dance and comments on the lasting influence the inspirational teacher of dance and mime Lindsay Kemp has had on his work. Following an audition with Rachel Browne in 1979, Tedd joins Winnipeg’s Contemporary Dancers as a dancer. In a span of a few years he launches his choreographic career and becomes the new artistic director of the company.