And with Miriam Khalil's piece we say farewell. We'd like to thank all of our in-house writers, our guest writers (like Miriam), the many publicists and collaborators and - especially - our readers, for making the four years of The Charlebois Post such a magnificent experience!
Estelle Rosen, National Editor
Gaëtan L. Charlebois, Publisher
Thursday, January 8, 2015
by Miriam Khalil
(photo by Meinrad Heck)
by Vincent Mantsoe
Growing up in Soweto, South Africa, Vincent Mantsoe learned to dance through youth clubs, street dancing and music videos. In 1990, Mantsoe won a scholarship to Sylvia Glasser's Moving Into Dance Company (MID) in Johannesburg. There, he began to explore the possibility of merging street dance with traditional dance. From 1997 until 2001, Mantsoe was associate artistic director of MID. His choreography combines traditional African dance with contemporary, aboriginal, Asian and ballet influences in a cross-cultural Afro-fusion style. He acknowledges the influence of spirituality in his creative work. Describing a process of “borrowing” from the “ancestors”, he notes the importance of understanding and appreciating the sources of his traditional movements. Mantsoe, now based in France, has toured internationally, performing at venues including The Kennedy Center in Washington, DC, the Dance Umbrella in London, England, and Canada's National Arts Centre in Ottawa. He has also won many awards, including top prize at the Vth and VIth Rencontres chorégraphique de Bagnolet (officially the Rencontres chorégraphique internationales de Seine-Saint-Denis) in 1996 and 1998. In 1999, he received the Prix du Peuple at the Festival international de nouvelle danse in Montréal, Canada.
I am Listening, I am Watching, I am Learning, I am Mu-Ntu:The notion ‘NTU’ is saturated with the idea that even if nothingness pervades, there is always something taking form. It talks about what may be created in your own mind, yet there can be nothing else inside NTU except the path it is destined to take on its own.
The Moment...Multidisciplinary Artist
by Stéphanie Morin-Robert
When Dena Devida (co-founder and co-artistic director Tangente) called me to ask if I was interested in possibly presenting a full-length piece as their mainstage programming, I was over the moon. I proposed the work I was currently creating with Ian Ferrier, even though we didn’t actually have a show put together yet.
She explained to me that I would be replacing Lise Vachon and that I would be sharing a double bill with Kimberley De Jong. Both very well-known and well-respected artists. I knew I was at a different level and had less experience than them, but I was still ready to give it a try and kept telling myself that I have nothing to lose. I really didn’t want to miss out on the great opportunity and I was motivated to make it work.
Sunday, December 14, 2014
(photo by Aleksandar Antonijevic)
Plumming in The Best Nutcracker
by Ramya Jegatheesan, Senior Contributor
Emma Hawes was born in Delaware, Ohio and trained at the BalletMet's Dance Academy in Columbus, Ohio and Canada’s National Ballet School. She joined The National Ballet of Canada as a member of the Corps de Ballet in 2011. Ms Hawes’ repertoire includes Swan Lake, Giselle, Romeo and Juliet, The Sleeping Beauty, Alice’s Adventures in Wonderland, La Fille mal gardée, Cinderella, Nijinsky, The Seagull, The Four Seasons, Theme and Variations and Carmen. In 2012, Ms Hawes represented the National Ballet in The Tenth International Competition for The Erik Bruhn Prize with Second Soloist Brendan Saye and won the Audience Choice Award. The Charlebois Post - Canada Senior Contributor Ramya Jegatheesan spoke with Emma Hawes.CHARPO: When was the first time you ever saw The Nutcracker?
Friday, December 12, 2014
(photo by Darryl Block)
Mozart a Little, Mozart a Lot
by Beat Rice, Editor