Author: Adriana Cueva

It was a completely unexpected life path diversion that began with the simple suggestion:
“Why don’t we start a little dance company?”

We had no idea, absolutely NO idea, what an intense and ridiculously challenging, yet charmed journey we were about to embark on…. It was 1983 and I had just returned from a revitalizing U of C sabbatical that had taken me to California, New York and Europe, as many of you have heard me say, “in search of like-minded jazz artists”. That specific pursuit resulted in a few disappointments, but the seven months of research and immense soul searching had generated a pretty clear idea of the direction I wanted my work to take within U of C’s Programme of Dance, Jazz Division that I had established five years earlier. Not long after my return I was approached by two talented, spirited and intrepid graduating students, Hannah Stilwell and Michèle Moss who wanted to spend the following summer dancing rather than waitressing and they presented the jazz dance company notion to me. Would I be willing to be the company’s artistic director and choreographer? My dance card was more than full with my U of C and other commitments but my travels had left me feeling somewhat disheartened because it was beginning to occur to me that after decades of erosion, jazz dance was losing its underpinnings, its essence, its soul and its vital connection to its African roots. Creating a dance company honouring its fundamental lineage seemed to be one small way of humbly addressing the situation…

We immediately launched into the heady exercise of visioning and planning, and on March 27, 1984 we became legally “official” as the 313933 Alberta Society (now there’s a catchy moniker!) and miraculously, here we are, thirty-seven dizzying years later, still moving and grooving… albeit socially distanced and wearing masks these days.

Happy Anniversary DJD – There’s a bottle of bubbly chilling in my fridge…

The post Happy 37th Anniversary DJD! – A Message from Founder Vicki Adams Willis appeared first on Decidedly Jazz Danceworks.

To start off our Professional Training Program Interview Series we asked Program Director Jamie Freeman-Cormack what the experience of running the program has been like this year amidst the pandemic and how it compares to the previous 10 years of her teaching.

Check out what she had to say below:

As you know, dance does wonders for the soul and this year especially. We are all so extremely grateful to be able to come together and train in person. However, facilitating the Professional Training Program has been a bit of a rollercoaster this year and continues to be a bit stressful from day to day.  

How are things different?

We have had to restructure the program as far as which studio we do our classes in and the number of different teachers that work with the dancers week to week. I started the year with only 3 teachers, including myself, in efforts to keep the group as ‘bubbled’ as possible. The classes that are taught are mostly Jazz, Tap and Conditioning. DJD Faculty Member, Ingrid, is also teaching some Cuban modern, Afro Cuban and Jazz, so she is wearing many hats. Instruction from DJD Founder In Residence, Vicki Willis is and has always been a crucial component of PTP training and she continues to teach improv from the tech booth in the theatre so as to maintain maximum distance from the dancers. We are very grateful to be able to have most of our classes in the theatre, as it is a 3 600 sq ft. space which allows us to keep our distance while dancing. Training in DJD Company repertoire is a standard in the Professional Training Program curriculum, however, exploring it under the current conditions it is extremely challenging. Currently we are working on a piece that fits the AHS guidelines, but as you can imagine these are few and far between.

Looking forward:

It is constant navigation on how to keep the flow of the program, while taking into account the well-being of the dancers and making sure we adhere to current AHS guidelines.  We have a really talented group of dancers this year and I am very hopeful that we will be able to continue to train and eventually perform in May.

The program continues to evolve as instruction moves to a combination of in person and virtual format to further allow for social distancing and to work with each dancer’s comfort levels, new A/V equipment ensures that the new virtual classes uphold the golden DJD standard maintaining the foundation the dancers need to finish off their year strong.

Stay tuned to hear what the year has been like from each student’s perspective in the next segments of the Professional Training Program Interview Series.

The post PTP Interview Series: Program Director, Jamie Freeman-Cormack appeared first on Decidedly Jazz Danceworks.

We had the chance to ask Brad McIntosh, creator and lead singer for the Penguins on Broadway, about some of his favourite things about performing at the Black & White Ball over the years.

A Note from Brad: 

“I have attached a pic that I love entitled the ‘The Quiet before the Storm’. There is something special being alone in the iconic Crystal Ball Room just a few hours before show time. Going to have some fun again this year. ”

Q. What is your favourite Black & White Ball Memory?

A: So many great memories but I think what stands out to me is simply the energy of the event. People just let it all hang out at the ball. I will say that’s it’s pretty awesome to have the vantage point that I have on stage and to people watch. So many smiles. It truly is a special gig.  Of all the shows the Penguins have played since we formed in 1985 there really isn’t a gig that is more anticipated by us or can come close the matching the event.

Q: Your favourite song to perform at the Ball?

A: Gotta be Jump Jive and Wail as you guys rip it up on the dance floor.  Awesomeness.

Q: Tell us about your band dynamic.

A: It really is quite the story and I hope that one day to chronical the history of the band that really started as a bunch of guys that really didn’t have much of a clue about Big Band music.  We simply started the band because we love the music and the energy of the era.  It’s interesting how things have come full circle and that we have a lot of the original members of the band performing together.  We truly are a family although that probably sounds cliché.

Q. Favourite Black & White Ball themes throughout the years?

A: Black White and Green. Good one. You guys just do such an awesome job at every party.

Had a great time getting an inside scoop from Brad, we’re certainly hyped to hear some more Penguins magic at this year’s Black & White Ball!

 

 

 

 

The post PEOPLE OF DJD – BLACK & WHITE BALL PERFORMERS – PENGUINS ON BROADWAY appeared first on Decidedly Jazz Danceworks.

The Roaring 20’s were full of glamorous and unique make up looks and we think this year’s Black & White Ball is the perfect occasion to revive and have some fun paying tribute to some of the 1920s leading ladies. Below you can find three of the most famous style icons from the 1920s and read a bit about their signature styles.

 

 

 

 

Jean Harlow “Baby”

Vibe: The Original Platinum Bombshell

Go Tos: Finger curls, angel blonde hair and doll eyes.

 

 

 

 

Theda Bara “Vamp”

The Vibe: Uncommon Style

Go Tos: Exotic maximalist styles, dark smudged eyes, heavy jewellery.

 

 

 

 

 

 

Greta Garbo “The Swedish Sphinx”

The Vibe: Woman of Mystery

Go Tos: Iconic class, dark heavy lashes, wistful look into the distance.

 

 

 

 

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