2011 ANNUAL GENERAL MEETING OF MEMBERSBarb Clausen (Vancouver, BC) Chair: Dance Presenters Standing...

2011 ANNUAL GENERAL MEETING

OF MEMBERS

Saturday, September 10, 2011 11:00 am-12:30pm

Dancer Transition Resource Centre (DTRC)

250 The Esplanade Suite 500 Toronto, Ontario

______________________________________________________________________ 55 Mill Street, suite 312, Case Goods Building 74, Toronto ON M5A 3C4

tel/tél : 416-515-8444, fax/téléc : 416-515-9444, email/courriel : [email protected], website/site web : www.cda-acd.ca

2011 ANNUAL GENERAL MEETING OF MEMBERS Saturday September 10, 2011 11:00 am- 12:30 pm

DTRC, The Lynda Hamilton Centre 250 The Esplanade Suite 500

Toronto, Ontario

ASSEMBLÉE GÉNÉRALE ANNUELLE DES MEMBRES 2011 Samedi 10 Septembre 2011, de 11 h à 12 h 30

CRTD, Le Centre Lynda Hamilton 250 The Esplanade Bureau 500

Toronto, Ontario

AGENDA / ORDRE DU JOUR

1. Welcome Bienvenue 2. Adoption of Agenda Adoption de l’ordre du jour 3. Adoption of 2010 AGM Minutes Adoption du procès-verbal des délibérations de l’AGM de 2010 4. President’s Report Rapport du président 5. Executive Director Report Rapport de la directrice exécutive 6. Treasurer’s Report Rapport de de la trésorière 7. Report of the Advocacy Committee Rapport du comité de représentation 8. Nominating Report Rapport du mise en candidature 9. Other Business Divers

10. Open Forum Discussion ouverte

MANDATE The Canadian Dance Assembly (CDA) is the voice of the professional dance sector in Canada and advocates for a healthy, sustainable environment in which professional dance practice can grow and thrive. CDA is a reputable source of information on the current state of dance in Canada and provides representation to policy makers and the public. CDA enables its national membership of dance professionals and organizations to connect with their peers through regular communications, conferences, forums and workshops, and facilitates opportunities for networking, dialogue and exchange relevant to the Canadian dance sector.

VALUE STATEMENT The Canadian Dance Assembly is a membership driven organization that, through the design and delivery of its activities, programs and services, upholds the core principles of being a collaborative, inclusive, consultative, non-partisan, proactive, diplomatic and transparent organization that represents the diverse professional dance milieu in all regions of Canada.

MEMBERSHIP, STANDING COUNCILS AND GOVERNANCE

Membership Regular Membership in the Canadian Dance Assembly is available to individuals and organizations involved in activities related to the development and promotion of professional dance in Canada. This includes, but is not limited to, dance companies, training organizations, dance service organizations, dance artists, teachers, consultants, academics, researchers and journalists.

Standing Councils Members form Standing Councils, based on natural groupings within the dance milieu and/or their particular interests. The following Standing Councils have been established: Ballet Companies, Dance Companies, Dance Presenters, Service & Support, Independent Dance Artists, Training & Education / Research & Writing, and Dance Consultants & Freelancers. The CDA has begun activating the Standing Councils, by orchestrating and subsidizing a number of teleconferences, Skype calls, and facilitated meetings. This will become an avenue for examining common issues, sharing solutions, brainstorming possibilities, developing action plans, and establishing roles and responsibilities for follow-up, thereby affecting the agendas and work-plans of the CDA.

Governance A maximum of ten Standing Councils will be created, and they will each elect from among its ranks, one representative to the National Council (Board of Directors). The National Council will have the authority to appoint up to seven other members to the National Council to help balance sectoral representation, regional diversity, cultural diversity, aboriginal representation, generation representation, and gender representation.

The National Council meets one or two times a year in person, and maintains ties through distance communication tools (teleconferences and email). The Executive Council, elected by and from the ranks of the National Council, guides the operations of the organization and oversees the work of senior management.

Canadian Dance Assembly National Council (2010-2011) EXECUTIVE PRESIDENT Michael Trent (Toronto, ON) Artistic Director, Dancemakers [email protected] VICE-PRESIDENT Gilles Savary (Montréal, QC) General Director, Fortier Danse-Création Inc. [email protected] VICE-PRESIDENT Mary Jane Warner (Toronto, ON) Chair: Training and Education/ Research and Writing Standing Council Chair, Dance Department, York University [email protected]

TREASURER Kathi Sundstrom (Calgary, AB) General Manager, Decidedly Jazz Danceworks [email protected] SECRETARY Harry Paterson (Calgary, AB) Director of Production and Touring, Alberta Ballet [email protected] EX-OFFICIO PAST PRESIDENT Jim Smith (Vancouver, BC) Producer, Eponymous [email protected]

DIRECTORS Alain Dancyger (Montréal, QC) Chair: Ballet Companies Standing Council Executive Director, Les Grands Ballet Canadiens [email protected] Barb Clausen (Vancouver, BC) Chair: Dance Presenters Standing Council Producer, DanceHouse [email protected] Chrystine Chambers (Halifax, NS) Chair: Freelancers and Consultants Standing Council Program Manager, The CanDance Network and Live Art Dance Productions [email protected] Dianne Milligan (Halifax, NS) Chair: Service and Support Standing Council Executive Director, Dance Nova Scotia [email protected]

APPOINTED DIRECTORS Michael Greyeyes (Toronto, ON) Associate Professor, York University Independent Choreographer, Director [email protected] Randy Joynt (Winnipeg, MB) Executive Director, Artspace Inc. [email protected] Lys Stevens (Montréal, QC) Special Projects, Studio 303 [email protected] Jennifer Wan (Toronto, ON) Senior Associate, Lannick Associates [email protected]

NATIONAL COUNCIL 2010-2011 MICHAEL TRENT Michael Trent is the Artistic Director and Resident Choreographer of Toronto’s Dancemakers and the Centre for Creation, one of Canada’s leading contemporary dance companies and a centre for research and development in new dance practices. The organization’s creations, presenting and professional development projects are contemporary, cross-disciplinary and collaborative in nature. In a career spanning over twenty years, Trent has garnered national recognition as a choreographer, dancer and teacher. He is the co-recipient of the 2004 K.M. Hunter Award and was nominated for a 2006 Dora Award for best performance in Louise Bédard’s Ce qu’il en reste. Trent’s repertoire of over 20 works has been seen in Toronto, Ottawa, Montreal, Halifax and Vancouver. Prior to coming to Dancemakers, he was the founding Artistic Director of the empty collective, a crucible for collaborative projects involving two or more media. A highly sought-after performer, Trent has worked with some of Canada’s most respected creators including Louise Bédard, Sarah Chase, Sylvain Émard, Christopher House, Sasha Ivanochko, Laurence Lemieux, Jean- Pierre Perreault, Dominique Porte and Julia Sasso and was a member of The Toronto Dance Theatre for eight seasons. GILLES SAVARY A manager who rose from the community and co-operative milieu, Gilles Savary has been working in dance for more than twenty years. He was from 1987 to 1991, interim General Manager of O Vertigo before becoming the company’s tour manager, and since Executive Manager for Fortier Danse-Création. His commitment to dance has enabled him to sit on various Boards of dance organizations such as Diagramme Gestion culturelle (1992-1995), Circuit-Est centre choréographique (2001-), Le Regroupement québécois de la danse (1995-1999), L’Agora de la danse (1998-2005), La Danse sur les routes du Québec (2000-2006) Canadian Dance Assembly (2008-) and dance collective La 2e Porte à gauche (2010-). He has been a member of several committees for the Canada Council and the Conseil des arts et des lettres du Québec. MARY JANE WARNER, Ph.D. Mary Jane Warner is a professor in the Dance Department at York University. She teaches courses in education, movement analysis, history, and reconstruction. A specialist in Canadian dance, in 1996, she published Toronto Dance Teachers: 1825-1925. Her articles have appeared in Theatre History in Canada, Canadian Dance Studies, Canadian Theatre Review, Journal of Dance Education and in numerous dictionaries and conference proceedings. She has published Canadian Dance: Visions and Stories, co-edited with Selma Odom. Her current research focuses on documenting the work of several Canadian choreographers through video and notation. A second research project funded by the Ministry of Health Promotion focuses on Dance Activities for Older Adults. She has a strong interest in dance education. She developed the dance education courses for the Faculty of Education at York University, and was a writer for the Ontario Curriculum documents for grades 9-12. She also developed the criteria for Additional Qualification Courses for the Ontario College of Teachers. She was the local organizer for the World Dance Alliance Global Assembly held at York University in July 2006. Currently, she is the President of the Heliconian Club and Toronto Heritage Dance. KATHI SUNDSTROM Kathi attended Decidedly Jazz Danceworks premiere production, Body and Sole, in 1984 and became an instant supporter. In 1989 Kathi joined the DJD Board of Directors and in 1992 became President of the Board. In 1993, Kathi made a courageous career move when she left the for-profit world to become General Manager of DJD. The move offered Kathi a myriad of new challenges along with a radical reduction in her annual income. She promised to work with the company for two years, and now, over 16 years later, is still at the helm. She was the proud recipient of the 2005 Rozsa Award for Excellence in Arts Management. Before coming to DJD, Kathi worked for 10 years for three different operating divisions of TNT Express Worldwide in western Canada, in Sales, Management and as a Facilitator and Trainer in Total Quality Management. Prior to that Kathi spent four years in Management in Western Canada for Mariposa Stores, where she coordinated the openings of their first two stores in the United States. Kathi graduated from SAIT as a Business Administration and Consumer Marketing Major and was listed on the President's Honour Roll. Kathi is presently Treasurer of the Canadian Dance Alliance, was co chair of the Mayor’s Lunch for Business and the Arts in 1999 and 2000, and was a member of the executive committee of the Calgary Professional Arts Alliance from 1994-2000.

HARRY PATERSON Harry is currently the Director of Production and Touring for Alberta Ballet and has worked for the company since 1990. During this time he has overseen the production and budgets of hundreds of ballets and has established various touring opportunities worldwide for the Company. Harry came to Alberta Ballet from Montreal where he spent several years in senior production positions at various organizations such as Société de la Place des Arts, National Theatre School, Les Grands Ballets Canadiens de Montréal, and the National Film Board of Canada. Harry has also been stage manager for several productions at the Delacorte Theater in New York, Stratford Festival and National Arts Centre. Born in London, England, Harry began his career as a dancer/actor on stage as well as on screen with companies including BBC TV, BBC Radio, Metro Goldwyn Mayer, Le Ballet du Rhin, L’ORTF in Paris, and Les Grands Ballets Canadiens de Montréal. Harry’s professional career has taken him around the world to Asia, Europe, the Middle East, North America, and South America. JAMES (JIM) SMITH Following studies in music and commerce, Jim Smith began working in the professional Canadian dance sector in Montreal at La La La Human Steps. Following a move to Vancouver, Jim co-founded Eponymous, an arts management and production agency. Under the aegis of Eponymous, Jim is currently the Producer for Animals of Distinction, Compagnie Vision Selective, Kidd Pivot, Lola Dance and Wen Wei Dance, and the Managing Producer of Vancouver New Music. In 2007, in association with Barb Clausen, Jim launched DanceHouse, a subscription series of large-scale contemporary dance presentations at the Vancouver Playhouse. Jim has been on the board of the Canadian Dance Assembly since 2005. He has also served on the boards of The Dance Centre and the Alliance for Arts and Culture and he regularly shares his expertise in the performing arts, specifically dance, as both a consultant and a mentor. ALAIN DANCYGER A native of Limoges, France, Alain Dancyger studied violin at the Guildhall School of Music and Drama in London from 1977 to 1978. He then prepared his Masters in Music at Juilliard School in New York. In 1987 he obtained a Masters in Business Administration from the École Supérieure des Sciences Économiques et Commerciales (E.S.S.E.C) in Paris. Mr. Dancyger held different management and marketing positions for the Société Nationale des Chemins de Fer Français (SNCF) in Paris and New York. He settled in Québec in 1991 to work at the Saidye Bronfman Centre for the Arts first as Assistant Director. He was promoted Director in 1993 and held that position until 1996, when he was appointed Executive Director of Les Grands Ballets Canadiens de Montréal. Since 1998, he has sat on the Regroupement Québécois de la Danse (RQD) board, on the Canadian Arts Summit, on the DIA/DSA Advisory Board of Concordia University, on the Montréal Holocaust Memorial Centre Museum « Wise Committee », and on the Canadian Dance Assembly (CDA) Advocacy Committee. He was also elected Chair of the CDA Ballet Companies Standing Council. He acts regularly as a guest lecturer in the HEC Arts Manager Program. BARBARA CLAUSEN Barb Clausen has been working in the dance community in Canada since 1980 as a teacher, administrator, mentor and programmer. Barb was one of the founders and spent four years as the first Executive Director of Vancouver's Dance Centre, and was for three years an Officer at the Canada Council, in dance and touring. In 1993 Barb founded New Works, which she directed until May 2010. Barb is currently, in partnership with Jim Smith, Producer of DanceHouse, Vancouver’s large-scale contemporary dance series CHRYSTINE CHAMBERS Chrystine Chambers is a Toronto-based arts administrator working as the Program Manager at The CanDance Network. After completing an Honours B.A in Drama at the University of Toronto, Chrystine went on to complete a post-graduate diploma in Arts Administration and Cultural Management at Humber College. Previous work engagements include Live Art Dance Productions, Strategic Arts Management, The Second City Toronto, The St. Lawrence Centre for the Arts and Soulpepper Theatre. Chrystine spent two terms on the Board of Directors of the Bad Dog Theatre in Toronto and has spent the past two years on the CDA Advocacy Committee. A trained dancer, actor and improviser and now an arts administrator, Chrystine hopes to bring passion and creativity to the world of policy and cultural management. DIANNE MILLIGAN After a few short years as a struggling actor and choreographer, Dianne Milligan discovered she was better at balancing books then at balancés. She began her administrative career as Registrar for Halifax Dance and was company manager for Nova Dance Theatre. Dianne has been Executive Director of Dance Nova Scotia since 1984, taking over from the formidable Gunter Buchta. She has been active on the Board of several provincial and national organizations including Dance in Canada, the Association of Cultural Executives and the Cultural Federations of Nova Scotia (President), as well as on regional and provincial arts advisory committees and juries. She has authored and co-authored articles on dance, most recently "Dance in Action: Six Nova Scotia Stories" for the Banff Centre Press book Right to Dance edited by Naomi Jackson. Dianne is currently Chair of the Halifax-based Legacy Centre for the Performing Arts Association.

MICHAEL GREYEYES Michael Greyeyes is a choreographer, director and educator. His choreography has been seen across Canada and the United States, both on stage and on television. His choreography includes The Threshing Floor, co-created with Santee Smith, Untitled # 1535 for Dusk Dances, Triptych for Bravo Television, and Dance to the Berdashe, a 5 channel video installation with Kent Monkman. In 2008, he directed and choreographed the first Cree opera, Pimooteewin (The Journey), with music by Melissa Hui and libretto by Tomson Highway for Soundstreams Canada. Most recently, he directed Daniel David Moses’ Almighty Voice and his Wife at Theatre Passe Muraille for Native Earth Performing Arts and was subsequently performed at the inaugural Origins Festival of First Nations Theatre in London, UK. Most recently, he choreographed a 40 minute work, in collaboration with Rebecca Belmore entitled, Gone Indian, for the 2010 Scotiabank Nuit Blanche festival. He is an Associate Professor in the theatre department at York University and is directing a short dance film entitled “Seven Seconds,” to be premiered at the 2010 imagineNATIVE Film + Media Arts Festival in Toronto this fall. RANDY JOYNT Randy Joynt’s career as a contemporary dancer spanned twenty years and included work with Contemporary Dancers (Winnipeg), Le Groupe de la Place Royale (Ottawa) and O Vertigo Danse (Montreal). In 1997 he founded TRIP dance company with his partner Karen Kuzak and the two ran the organization until winding it up in 2010. His roles with TRIP included dancer, teacher, rehearsal director, producer and general manager. In 2008 Joynt assumed the position of Executive Director of Artspace and joined the Board of the Canadian Dance Assembly. In 2009, he was appointed to the Board of the Winnipeg Arts Council and in 2010, he was awarded the Victor Martin Lynch-Staunton award from the Canada Council of the Arts. He is also on the founding steering committee for Culture Manitoba and is the chair of ArtsVote Winnipeg. Randy continues to teach contemporary dance technique and is increasingly in demand as an organizational development consultant. LYS STEVENS Lys Stevens is a Montréal-based dance researcher, writer and administrator who holds a masters in dance studies from UQAM on b-boying as a street and stage dance form. She is a guest writer at the Dance Current. Since 1999 she has worked for the contemporary dance and interdisciplinary arts centre Studio 303 in various capacities, as Associate Director, curator, and board member. Recently she worked at the Regroupement québécois de la danse on various projects, including their professional development activities and the Master Plan for Professional Dance in Quebec 2011-2021 JENNIFER WAN Jennifer is currently a Senior Recruiter at Lannick Recruitment, where she sources candidates to staff finance and accounting roles for client across the GTA. She began dancing at Jazz Be Nimble at an early age, training in jazz, tap and acro. She went on to complete her Bachelor of Business Administration at Schulich School of Business, York University in 2005. During her undergraduate studies, she was recruited as an associate at PricewaterhouseCoopers LLP (PwC), where she completed her CA designation in 2006. She gained work experience in both the Assurance and Tax practice at PwC, where her client base was primarily focused in the Financial Services and Entertainment and Media industries. Since 2005, she began to take hip hop and tap classes and rediscovered her love for dance. Today, she creatively couples her professional financial expertise with her love for dance by assisting several dance companies around the city such as Aurora Live Inc, BDX studio, Gadfly, DTRC and now the Canadian Dance Assembly. She has performed at various fundraising and local events with GeoMetriX Dance Company and in a piece choreographed by Apolonia Velasquez of Gadfly. SASHA IVANOCHKO Sasha Ivanochko is a Toronto based dance artist. With a career that spans 20 years, Miss Ivanochko has interpreted the works of many of Canada’s major choreographic voices, including Tedd Robinson, Denise Fujiwara, James Kudelka and Christopher House. A stellar dance smith in her own right, Ivanochko’s choreography has toured across Canada and to Latin America and Japan. As Artistic Director of blackandblue dance projects, Ivanochko is an influential artistic presence in the Toronto dance community, and she has taught many generations of dancers at several dance post secondary institutions across the country. An empathetic and strong advocate for the rights and well being of the independent dance artist, Ivanochko proudly served as Chair of the Canadian Alliance of Dance Artists, Ontario Chapter, from 2006-2009, and was the Chair of the Independent Artists Standing Council Chair of the Canadian Dance Assembly from 2009-2011.

STAFF 2010-2011 NATHALIE FAVE – EXECUTIVE DIRECTOR French born in Paris, Nathalie’s passion for arts and culture resulted in publishing numerous works in literature and poetry, and founding a cultural space in Senegal which housed fashion shows, an art gallery and a jazz club. While in Senegal she also established a communications corporation providing consultations to the Ministry of Culture. After living in Africa for 18 years she came to Canada in 2006 and has worked in management positions in the community development and social sector. Nathalie is currently the Executive Director of the Canadian Dance Assembly AVIVA FLEISING – PROGRAMS AND SERVICES MANAGER Simultaneously pursuing her love of dance and arts management, Aviva currently enjoys a position as Programs and Services Manager with the Canadian Dance Assembly while remaining an independent dance artist. She holds a Bachelor of Arts degree in Contemporary Dance from the University of Calgary and a certificate in Arts and Cultural Management from Grant MacEwan College. Aviva previously worked at the EPCOR CENTRE for the Performing Arts in Calgary as Marketing Coordinator and held administrative positions in both the Montreal and Calgary Fringe Festival. She has studied, performed and lived in Asia, North America, and Europe in pursuit of her own artistic voice and has coordinated a variety of independent projects for festivals in Calgary, Montreal and Toronto. MICHAEL FREETHY – MEMBERSHIP & COMMUNICATIONS OFFICER Michael has grown to love and appreciate the art form having been raised in a household of four sibling dancers. He has a Bachelor of Arts Honours degree in Film Studies from Brock University (St. Catharines) and a Master’s of Arts degree in Film Studies from Carleton University (Ottawa). Alongside his passion for visual media, Michael pursues his interests in arts administration, communications, and the performing arts with the CDA and also as the Marketing Assistant for the Richmond Hill Centre for the Performing Arts. MAHAD ABDI – ADMINISTRATIVE OFFICER Mahad Abdi is thrilled to become a part of the Canadian Dance Assembly during this exciting time of growth and activity. His background in community activism originated from his studies at Glendon College in Political Science and he possess over ten years in the Customer Services industry with various telecommunication businesses. Mahad’s passion for cultural and community engagement stems from, among other things, his high regard for the Canadian joie de vivre which resulted in volunteering for various charity and community organizations over the years. Although not a professional dancer, Mahad respects the discipline greatly and spends his leisure time dancing in addition to admiring various professional and amateur dance performances as both supporter and spectator. Thank you to our volunteers for 2010-2011: Vyda Buddharaju, Nini Ho, Vanessa Kimmons, Liisa Murray, Kabibi Nakihimba, Kate Nankervis, Malgorzata Nowacka, Krista Posniak, Alix Hernandez Reyes, Sonia Shek, and Jennifer Wan.

MEMBERS / MEMBRES 2010 - 2011

Alberta ORGANIZATION / ORGANISME

Alberta Ballet Alberta Dance Alliance Alberta Dance Theatre for Young People Blue Collar Dance Company Dancers' Studio West Decidedly Jazz Danceworks / DJD EPCOR CENTRE For The Performing Arts M-Body: Mind and Music in Motion Mile Zero Dance Program of Dance- University of Calgary Springboard Dance Three Left Feet Movement Creations Vinok Worldance W&M Dance Projects of Calgary Association

INDIVIDUAL / INDIVIDUEL

Mackenzie Alcorn Tara Blue Naomi Brand Heidi Bunting Ainsley Hillyard Helen Husak Trina Jones Leanne Kidd Kelly McCann Barbara Murray Rosanna Terracciano Truus Verkley Raena Waddell Tanya Yacyshyn British Columbia / Columbie-Britannique ORGANIZATION / ORGANISME

Animals Of Distinction Performing Arts Society Ballet BC Ballet Kelowna Ballet Victoria Battery Opera Performing Arts Society CADA BC / Canadian Alliance of Dance Artists (BC chapter) Compagnie Vision Selective Arts Society DanceHouse Dancers Dancing Eponymous Harbour Dance Centre Joe Ink Performance Society Karen Jamieson Dance Kidd Pivot Performing Arts Society Kinesis Dance

Made in BC - Dance on Tour Marta Marta Hop Society Mascall Dance Society New Works Pro Arte Performing Arts In Motion Raven Spirit Dance Society Rosario Ancer Flamenco Arts Society (RAFAS) Tara Cheyenne Performance The Dance Centre Wen Wei Dance


Conrad Alexandrowicz Raquel Alvaro Jennifer Aoki Daina Ashbee Annie Au Laura Avery Sarah Ballard Jobina Bardai Roberta Baseggio Nicolette Bauman Brandy Baybutt Andrea Bayne Joshua Beamish Melissa Beattie Melanie Bennett Tiffany Bilodeau Jennifer Bishop Barbara Bourget Sarah Brewer Clowes Moe Brody Angela Brown Caitlin Brown Julia Carr Martha Carter Ishwarya Chaitanya Justine Chambers Carolyn Chan Kaitlin Chapple Julianne Chapple Yvonne Chartrand Jennifer Cole Amanda Collinge Miriam Colvin Anne Cooper Katherine Cowie Megan Cox Kathryn Crawford Henry Daniel Danaea Davies Alison Denham Katie DeVries

Jason Dubois Nicole Dupuis Douglas Durand Jennifer Edwards Caroline Farquhar Alexis Fletcher Maggie Forgeron Claire French Alyson Fretz Tara Friedenberg Stanislav Galimkhanov Judith Garay Lisa Gelley Thoenn Glover Cai Glover Yeva Glover James Gnam Marissa Gomez Meghan Goodman Vanessa Goodman Heather Gordon Heather Gray Samantha – Jane Gray Margaret Grenier Caitlin Griffin Andrea Gunnlaugson Daelik Hackenbrook Robert Halley Lori Hamar Barbara Hannah Michelle Harding Kristen Harris Katy Harris-McLeod Tera Hawes Day Helesic Laura Hicks Jay Hirabayashi Natalie Hobbs Eloi Homier Stacey Horton Meredith Kalaman Andreana Karogiannis Edmond Kilpatrick Patricia Kim Jeanette Kotowich Melanie Kuxdorf Ziyian Kwan Jee Lam Julie Lebel Natalie Lefebvre-Gnam Delphine Leroux Caroline Liffmann Leslie Lindberg Barbara Lindenberg Pia Lo Jacqueline Lopez Brigid MacAulay Geoff Malcolm Marianne Mandrusiak Christie Manning Judith Marcuse Jessica Marino

Tanya Marquardt Josh Martin Jennifer Mascall Espirito Santo Mauricio Molly McDermott Kathleen McDonagh Emily Molnar Jeffrey Mortensen Starr Muranko Billie Murphy Connie Myers Philippa Myler Leslie Nandon Kara Nolte Michelle Olson Simone Orlando Jane Osborne Alisoun Payne Andrea Pena Kaija Pepper Deanna Peters Stephanie Pintar Bevin Poole Roxoliana Prus Sarah Russell Kathleen Salvino Kim Sato Maria Schroeder Robbyn Scott Sylvain Senez Olivia Shaffer Katherine Single-Dain Cara Siu Siobhan Sloane-Seale Emily Statler Kimberly Stevenson Grant Strate Ashley Sweett Julia Taffe Daisy Tahani Brett Trach Ikue Ueno Lexi Vajda Helen Walkley Wu Wen-Chi Kirsten Wicklund Andrea Williams Crystal Wills Kirsten Wiren Cheng Yun Julia Zennstrom

Manitoba ORGANIZATION / ORGANISME

Canada's Royal Winnipeg Ballet Dance Manitoba Inc. Winnipeg's Contemporary Dancers Young Lungs Dance Exchange

INDIVIDUAL / INDIVIDUEL Stephanie Ballard Odette Heyne-Penner Randall Joynt Faye Thomson

New Brunswick / Nouveau-Brunswick ORGANIZATION / ORGANISME Les Productions DansEncorps Inc. INDIVIDUAL / INDIVIDUEL Sylvie Mazerolle Newfoundland and Labrador / Terre-Neuve et Labrador ORGANIZATION / ORGANISME

Arts and Culture Centres Dance NL Kittiwake Dance Theatre Neighbourhood Dance Works

INDIVIDUAL / INDIVIDUEL Calla Lahance Tammy Macleod Richard Stoker Sarah Stoker Nova Scotia / Nouvelle-Écosse ORGANIZATION / ORGANISME Dance Nova Scotia Halifax Dance Kinetic Studio Society Live Art Dance Productions Mocean Dance INDIVIDUAL / INDIVIDUEL

Jacinte Armstrong Chrystine Chambers Susanne Chui Sara Coffin Susan Cook Carolle Crooks Kelly DeBouver Pearl Eileen Forrester Sara Harrigan Sheilagh Hunt Rebecca MacCulloch Maria Osende Sabrinia Patterson Lisa Phinney Langley Barbara Richman Jordan Sanford Rebecka Smith Elise Vanderborght

Ontario ORGANIZATION / ORGANISME

10 Gates Dancing Inc. CADA ON / Canadian Alliance of Dance Artists (Ontario chapter) Canada Dance Festival Canada's National Ballet School Canadian Actors' Equity Association Canadian Arts Presenting Association Canadian Children's Dance Theatre (CCDT) / Tilt Sound and Motion CanAsian Dance Festival CanDance / CanDanse COBA Collective of Black Artists Coleman Lemieux & Co. CORPUS Dance Projects Dance Collection Danse Dance Department, York University Dance Ontario Association Dance Our Way Home Dance Umbrella of Ontario / DUO Dancemakers Dancer Transition Resource Centre / DTRC Dancetheatre David Earle Esmeralda Enrique Spanish Dance Company Fujiwara Dance Inventions Janak Khendry Dance Company Little Pear Garden Collective Menaka Thakkar Dance Company Motus O Dance Theatre National Arts Centre - Dance Department National Ballet of Canada Peggy Baker Dance Projects Princess Productions Public Energy / Peterborough New Dance Public Recordings Performance Projects Sampradaya Dance Creations Society for Canadian Dance Studies (Visus Foundation) The Dance Current The School of Toronto Dance Theatre Toronto Dance Theatre / TDT Tribal Crackling Wind Victoria Ballet Academy


Kersti A Abawi Robert Abubo Corrin Adams Meryem Alaoui Natalie Dione Alexander Kate Alton Erin Amadio Carol Anderson Megan Andrews Sarah Anthony Norma Araiza Jean Assamoa Zelma Badu-Younge Peggy Baker Melanie Bennett Stephanie Bergeron

Heather Berry Nova Bhattacharya Christine Birch Sylvie Bouchard Susan Bowden Lesley Bramhill Tom Brouillette Susie Burpee Michael Caldwell Yves Candau Dawne Carleton Marie-Josée Chartier Martin Chemagne I Ling Annie Chen Peter Chin Sandra Clarke Kate Cornell Erin Cowan Paige Culley Jennifer Dahl Jennifer Dallas Jesse Dell Jordana Deveau Andrea deZeijzer Brittany Duggan Katherine Duncanson Megan English Esmeralda Enrique Cheryl A. Ewing Eden Fieldstone Mairéad Filgate Marie France Forcier Kate Franklin Patricia Fraser Natasha Frid Denise Fujiwara Jasmyn Fyffe Anne-Marie Gaston Meaghan Giusti Robert Glumbek Kelly Goodine Jenn Goodwin Rose Gowling Alicia Grant Julie Grant Michael Greyeyes Fiona Griffiths Diana Groenendijk Heather Hammond Amy Hampton Judy Harquail Jocelyn Harvey Christine Heath Ame Henderson Maxine Heppner Cheng-ni (Nini) Ho Kate Holden Ronald Holgerson Susanna Hood Michele Hopkins Jaimee Horn Julye Huggins

Kendra Hughes Jen-Yi Hum Kerri-Ann Hutton Sasha Ivanochko Molly Johnson Pam Johnson Allen Kaeja Karen Kaeja Laura Kappel James Kendal Susan Kendal Kristy Kennedy Vanessa Kimmons Keiko Kitano Elizabeth Kmiec Donna Krasnow Ekaterina Kuznetsova Louis Laberge-Côté Slade Lander Emily Law Ryan Lee Susan Lee Lilia Leon Suzanne Liska Shannon Litzenberger Sarah Lochhead Gary Lucich Tanya Lukin-Linklater Susan Macpherson Julia Male Victoria Mata Sarah McQueston Samantha Mehra Sameena Mitta Claudia Moore Sharon Moore Vivian Moore Sally Morgan Sahara Morimoto Christine Moynihan Mary – Jo Mullins Angola Murdoch Liisa Murray Kabibi Nakihimba Kate Nankervis Andrea Nann Garry Neil John Newton Yvonne Ng Caroline Niklas-Gordon Tracey Norman Malgorzata Nowacka Atri Nundy Zita Nyarady Selma Odom Kennetha O'Heany Meagan O'Shea Jennifer Oxley Barbara Pallomina Juliet Palmer Solange Paquette Kenny Pearl

Taisa Petruk Joan Phillips Emily Poirier Sara Porter Ofilio Portillo Krista Posyniak Meredith Potter Shantell Powell Kassandra Prus Andrea Roberts Jennifer Robichaud Matthew Romantini Laura Ross Jessica Runge Lucy Rupert Julia Sasso Heather Saum Vivine Scarlett Takako Segawa Barbara Sellers-Young Jean Sheen Michelle Silagy Georgia Simms Yvon Soglo Barbara J. Soren Andrea Spaziani Cara Spooner Tim Spronk Rosemarie Stea Kelly Steadman Brodie Stevenson Karen Stewart Heidi Strauss Menaka Thakkar Meredith Thompson Stephanie Tremblay Abubo Michael Trent Robert Turner Claire Turner Reid Andrea Vagianos Apolonia Velasquez Catrina Von Radecki Portia Wade Jennifer Wan Mary Jane Warner Timea Wharton Jessica Whitford Phyllis Whyte Claudia Wittmann Claire Wootten Brendan Wyatt Allison Yearwood Cindy Cin-Ling Yip William Yong

Prince Edward Island / Île-du-Prince-Édouard ORGANIZATION / ORGANISME Confederation Centre of the Arts

INDIVIDUAL / INDIVIDUEL Heather Burke-Currie Peggy Reddin Québec ORGANIZATION / ORGANISME

Christiane Bélanger-Danse Circuit - Est Compagnie de Danse Sursaut Compagnie Marie Chouinard Fondation De Danse Margie Gillis Fortier Danse-Creation L'ecole de danse contemporaine- LADMMI L'école Supérieure De Ballet Du Quebec La Otra Orilla La Rotonde Centre Choreographique Contemporain de Quebec Le Ballet de Québec Le Centre Uriel Les Grands Ballets Canadiens de Montréal Sinha Danse Studio 303 Sunny Artist Management RUBBERBANDance Group

INDIVIDUAL / INDIVIDUEL Dena Davida Leonardo Grabau Villalba Lys Stevens Eryn Dace Trudell Saskatchewan ORGANIZATION / ORGANISME Dance Saskatchewan New Dance Horizons INDIVIDUAL / INDIVIDUEL

Valerie Bouvier Shannon Bray Etheston Cox Pat Gabel-Yablonski Ann Kipling Brown Myra Kirk Stephanie Lockinger Mike Mirlin Courtney Odelein Taisha Tenaschuk Michelle Weimer Misty Wensel Mikaela Zolinsky

International ORGANIZATION / ORGANISME Dance USA (Washington, DC) INDIVIDUAL / INDIVIDUEL Anne Dunning (New York) Lucia Diasog (New York)

CDA Annual General Meeting of Members Wednesday, June 9th, 2010, 5:30pm – 6:30pm

National Arts Centre, 53 Elgin Street Ottawa, ON 1. CALL TO ORDER / WELCOME

• Jim Smith welcomes members and calls the meeting to order at 5:50pm. The meeting starts a bit late as people are making their way from nearby festival performances.

• Smith introduces the speakers for the day, Michael Trent, Alain Dancyger, Mary Jane Warner and Aviva Fleising. • Simultaneous translation will be running throughout and participants are encouraged to retrieve a headset. The

AGM will be webcast through a live stream and so all members are asked to speak in the microphone. • Jim thanks the Canada Dance Festival for sponsoring today’s AGM. • Michael Trent confirms that there are 29 voting members here out of a potential 456, including proxies, which does

meet quorum. Notice of the AGM was distributed to all registered members with the required notice period which constitutes a valid meeting of the members.

2. AGENDA Motion to accept the agenda. Elizabeth Chitty. Seconded by Barb Clausen. All in favour; motion carried. 3. ADOPTION OF 2009 AGM MINUTES

• Jim allows members a few moments to review the 2009 minutes from the AGM which took place in Toronto Wednesday September 25.

• Jim notes one correction to be made under the 4th bullet point – should read ‘constitute quorum’ instead of quota. Motion to approve minutes from 2009 AGM. Richard Stoker. Seconded by Harry Paterson. All in favour; motion carried. 4. PRESIDENT’S REPORT

• Jim Smith delivers the President’s report, this will mark his last report as President for CDA – highlights of the report include:

• 2009-2010 marked a year of transition. • In the fall of 2009 CDA engaged in a strategic planning process that allowed the organization to clarify its goals,

assess and face its challenges, and identify priorities. • The organization continued to work at developing and expanding the membership. 2009 saw the formalizing of a

joint membership relationship with Canadian Alliance of Dance Artists (CADA) – BC Chapter, similar to the one created with CADA – ON in the previous year.

• Alain Dancyger and Gilles Savary are thanked for their efforts to help increase membership in Quebec. • CDA, along with its partners in the Performing Arts Alliance, played a central role in the reassembling the Canadian

Arts Coalition. • In the past year, CDA secured financial support from the Canada Council for the Arts to undertake research on

training needs, and subsidies to assist with training, which have been identified as pressing issues in the national dance community.

• A new Executive Director has been identified, however Jim reports that he is not able to announce the individual at this time as negotiations are still in process. Jim thanks the search committee co-chairs for their work.

• Smith thanks the staff, the National Council, the advocacy committee and the Executive for all their work and contributions to CDA. He also extends a thank you to the membership of the Canadian Dance Assembly for the opportunity to have been President for these past four years.

Motion to accept the President’s report as tabled. Paul Caskey. Seconded by Barbara Richman. All in favour; motion carried.

5. STAFF REPORT

• Aviva Fleising delivers the Staff report, highlights include: • Membership exceeded 450 members this year, a 31% growth from 2008-09. • The organization begun the process of re-developing its website which will house increased features and resources

for members. • CDA continued to work on the collaborative project of creating a national web-based dance ‘portal’ which will serve

the artform by providing a central point of connection to dance for the public online. • Regional activity highlights from the 2009-2010 year include: Co-hosting a session on the ‘State of Dance in

Canada’ at the Festival of New Dance in St. John’s, partnering with the Canada Dance Festival’s presentation of “Dancing Through Cultures to a Space of Mutuality” in Ottawa, attending the Dance in Vancouver Festival, and leading a session on dance presentation at the CAPACOA conference in Calgary. Additionally, CDA had the opportunity to attend Tanzcongress this past year in Hamburg Germany, gathering with other national arts service organizations from around the world to share best practices.

• The CDA entered a new phase of planning in the 2009/2010 year. The strategic priorities and objectives outlined in this plan focus on supporting the continued growth and well-being of the national dance community.

• The International Dance Day message for 2009 was written by Nico Archambault, winner of the inaugural season of So You Think You Can Dance Canada.

• Aviva thanks fellow staff members, the National Council, committee members and partners. Motion to accept the Staff Report as tabled. Barb Clausen; seconded by Denise Fujiwara. All in favour. Motion carried. 6. TREASURER’S REPORT • Michael Trent delivers the Treasurer’s report on behalf of Kathi Sundstrom. • Revenues exceeded expenses by just over $2,000, resulting in an accumulated reserve of almost $11,000. • As is the case for many organizations, cash flow management is challenging for the January - March period due to the

cyclical nature of revenue streams. • Grants remain the largest contribution at 72%, this year saw an increase from the Canada Council, OAC remained the

same, and no funds were obtained from the Department of Canadian Heritage this year for translation. • Membership revenue increased by 13% • There was no conference revenue for 09-10. • Expenses came under revenues for the year. • Operations and staffing remain the largest at 71% • Expenses also relate to membership services, a series of special events took place over the past year including, ballet

meetings, and a PAA gathering. • Kathi thanks Shannon Litzenberger, Aviva Fleising and Judy Harquail for all their help and hard work over the past

year and accountant David Mayhew and Francis & McKinney for their services on our audit. • Jim Smith allows for a moment of comments or questions from the room. • Paul Caskey asks for clarification regarding the increase in membership and why on the financial statements it shows a

decrees under membership fees. • Judy Harquail clarifies that there is conference money that shows in the membership line from the previous year, but

because there was no conference this year the number only reflects membership fees - so in fact the revenue has gone up slightly for membership.

Motion to accept the Treasurer’s Report as tabled. Michael Trent; seconded by Alaian Dancyger. All in favour. Motion carried. 7. AUDITED STATEMENTS

• Michael Trent refers members to the section on the audited statements. • Michael points out the statement of income and accumulated surplus of just over $2,000, bringing the accumulated

surplus to $10,894. • Gives the members a moment to look over the report and opportunity to ask questions. No questions arise.

Motion for approval of the 2009-2010 audited financial statements. Michael Trent; seconded by Lys Stevens Warner. All in favour. Motion carried. Motion to all the National Council be given authority to be able to appoint auditors for the Canadian Dance Assembly. Michael Trent; seconded by Barb Clausen. All in favour. Motion carried. 8. REPORT OF THE ADVOCACY COMMITTEE

• Alain Dancyger delivers the advocacy report in both English and French. Highlights include: • CDA’s advocacy work is undertaken in collaboration with a number of partner organizations including the

Canadian Conference of the Arts (CCA), Canadian Arts Coalition (CAC), Performing Arts Alliance (PAA) Regional Dance Service Organizations, and other National Dance Service Organizations.

• Alain lists the various members of the advocacy committee alongside Randy Joynt, Co-Chair. • In 2009, the Performing Arts Alliance (PAA) expanded to include the Canadian Arts Presenters Network

(CAPACOA), along with founding members CDA, the Professional Association of Canadian Theatres (PACT), Opera.ca and Orchestras Canada.

• Last year, the PAA collaborated to present common federal pre-budget recommendations to the Standing Committee on Finance.

• To assess the impact of the economic recession on the performing arts sector, the PAA collaborated on a research initiative aimed at gathering useful data on how performing arts organizations have been affected by the changing economic environment over a period of time.

• The PAA met with several MP’s during the year in Ottawa, including Minister of Heritage James Moore, and Heritage Critics from other parties

• This past year the creation of an all-party arts caucus emerged sensitize MP’s on current arts policy issues. There are currently over 60 participating members.

• The Performing Arts Alliance took action to galvanize arts sector advocacy efforts by re-assembling the Canadian Arts Coalition that will coordinate the messages and actions of the arts sector leading up to the next election.

• The Canadian Arts Coalition short-term goals will include two specific asks that coalition members will advocate to all parties: 1) increase the annual budget of the Canada Council for the Arts to $300 million; and 2) invest in a new market access and development fund – an investment measure aimed, in part, at replacing cut programs that supported international touring.

• CDA is called upon frequently to provide consultation and commentary been interviewed several times over the past year.

• Members of the advocacy committee are thanked as well as Shannon Litzenberger for her continued work on the advocacy front. Alain also thanks the members of CDA.

Motion to accept the Treasurer’s Report as tabled. Alain Dancyger;, seconded by Harry Paterson. All in favour. Motion carried. 9. REPORT OF THE NOMINATING COMMITTEE

• Mary Jane Warner reviews the nominating report • The National Council of the Canadian Dance Assembly is composed of the Chairs of the Standing Councils, who are

elected by their Council memberships, as well as additional Members at Large. • Terms for the Chairs of Standing Councils are three years unless a Council has to fill a position that has been

vacated during that term’s cycle. • The maximum term of service for a National Council member is six consecutive years. • Mary Jane announces the National Council members for 2010-11. • There is one position vacant at the moment, if anyone members are encouraged to speak with Michael Trent or

anyone else on the National Council. • Officers are appointed by the National Council immediately following the Annual General Meeting. • The National Council would like to thank outgoing President Jim Smith for his exceptional leadership. {applause} • Richard Stoker is thanked as outgoing past-president Dick, he was a Founding Member of the National Council and

helped guide the organization through the critical stages of early development. {applause} Motion to accept the Nominating Report as tabled. Mary Jane Warner seconded by Andrea Vagianos. All in favour. Motion carried.

10. OTHER BUSINESS

• Jim allows for any further formal business • Nothing further is brought forward.

11. OPEN FORUM

• Sinha Dance stipulates that they will be becoming a member. He inquires if a category currently exists for provincial organizations.

• Jim clarifies that many provincial organizations fall under the Services and Support Standing Council which is chaired by Dianne Milligan.

• There is a question from the audience if there has been any dialogue with the Canadian Actors Association in terms of partnership as many individuals belong to numerous service organizations. As well there is question about consolidating efforts with CADA regarding contracting.

• Elizabeth reports that CADA-ON and CAEA communicate regularly through DTRC’s On the Move conference, together they host a session on contracts & professional standards. Elizabeth encourages that more dialogue on the national level is needed to analyze the various models of the collectively bargained agreement – the union model which CAEA represents, and the best practices model that CADA represents.

• There is a question about dance representation within CAEA, it is reported that Denis Lepsi was the dance rep and since he has left that position is more of a business rep, however the person in charge does look after dance.

• Caroline Liffmann from the board of directors on CADA-BC reports that their administrator has been in touch with actors equity in BC as well through the DTRC’s On the Move conference and have had dialogue with them as well regarding basic dance agreement.

• Barbara Richman mentions that the National Dance training subsidy study will involve consultation with equity. • Roger from Sinha Dance inquires if discussions are still taking place with RQD in terms of working together or

having them as members. • Alain Dancyger reports that conversations are ongoing. We are not at the level yet where an agreement had been

made but it is moving forward. The more time spent talking to each other the better we understand each other’s position, we are entering the crucial stage of brining both parties together and seeing how we can benefit all by working together.

• Jim lends an observation as being president over the last four years, although it has been a slow process he has seen a positive development.

• There is question from the audience that if CAEA is a member, then are all the individuals of CAEA therefore members. Aviva clarifies that the difference is that CDA entered a joint membership agreement with CADA-BC and CADA-ON. Where if an individual joins one of those organizations then they automatically become a CDA member. There is the possibility that the same type of arrangement could be made with CAEA.

• Jim asks if there are any further questions, seeing none he calls for a motion to adjourn the meeting.

Motion to adjourn the 2010 Annual General Meeting. Calla Lachance. All in favour. Motion carried.

2011 Annual General Meeting of Members September 10, 2011 Toronto Ontario

PRESIDENT’S REPORT

It is my pleasure to present the President’s report for the 2010-2011 fiscal year.

During this period, the Canadian Dance Assembly underwent a significant transition in its professional leadership with the appointment of Nathalie Fave to the position of Executive Director. New to dance yet deeply engaged in art making as a poet and writer, Nathalie brought years of experience within the social sector to her new role as galvanizer and instigator within and outside the dance sector. Nathalie believes deeply in the power of building understanding and support for what we do as dance artists by prioritizing both the strengthening of the field’s capacity and the building of a strong profile within the general public.

Nathalie wasted no time when she began in August of 2010. Traveling across the country at every opportunity, accepting invitations to listen, meet and build relationships, she immediately began to rebrand the CDA as a leader in partnership. The consequences of her travels and conversations have resulted in a robust membership, the diversification and growth of our partners and building support for, and participation in the conceptualization of, a comprehensive, large-scale and extremely exciting National Campaign.

The National Campaign, I love dance/j’aime la danse, speaks specifically to the artist’s role as contributors to building a healthy society. It will galvanize wider and deeper support for the sector’s beauty and complexity. In 2011 and the foreseeable future, the National Campaign will embody values crucial to our success as arts workers in dance, in an unsettled time marred by conservative ideology, insistence on black and white, bottom-line accountability above all else, the potential for increased human disconnect as an unexpected consequence of the new technology and a society blinded and confused by so much choice.

But there is hope and our collective efforts as art makers, administrators and supporters build compassion – to borrow a sentiment so eloquently expressed by Margie Gillis – that raises the value of human interaction, questioning and empathy to the level needed for sustained health.

But let me be clear: we are not foolish enough to think that what we do is sufficient for building health. What we do think is that it is unequivocally necessary.

From my perspective, two initiatives undertaken by staff and members of the National Council this year stand out. The first initiative is the focused attempts to bring the membership closer together in conversation through the launch of monthly Skype meetings where, thanks to the immediacy of hearing our own voices in real time, issues that matter get aired and concrete actions are proposed. I encourage all of our members to join future conversations, to make your voices heard, to make your needs known and most importantly, to bring your solutions to the table.

The second initiative is the development of a positive and prodigious conversation between the CDA and its sister organizations at the provincial and territorial levels. For me, CDA‘s national mandate cannot be realized without a healthy and efficient relationship with all dance service organizations across the country. I would particularly like to mention the renewed conversation between the CDA and the Regroupement québécois de la danse. I wish to thank Ms Lorraine Hébert, Executive director of the RQD and Marc Boivin, Chair of the board, for their openness and desire to engage with us around common interests and shared goals. The detailed and important work of the Plan Directeur, in addition to the awareness initiative Pas de danse pas de vie, provide each of us with an exemplary precedent. I am very happy to announce that the two organizations will be forming, in the not too distant future, a steering committee that will address membership, profile-building and advocacy.

The role of President always includes the happy task of saying thank-you. So, to our staff Aviva, Mike and Mahad, thank you for keeping us informed, organized and engaged. To our numerous volunteers, thank you for your time, insights and care. To the Members of the National Council and our Advocacy Committee, than you for your leadership, curiosity and scrutiny. And to our membership, thank you for making work, for bringing it to the public and for the thousand ways, big and small, you advocate for the field on a daily basis.

I would be remiss if I didn’t single out two people in particular. To Jim Smith, who for four years acted as President of the CDA, thank you for leaving us a legacy of care and leadership that has brought us to the stable place we are at today. And to mentor, staff person and volunteer Judy Harquail, an enormous heartfelt thank you for your unbridled love of dance and your vision for what we could do together.

As I step down from my role as President of the CDA for personal reasons, I would like finally to thank everyone, near and far from all across this magnificent country, for their commitment to the organization and for understanding that collectively, our individual efforts make a huge difference.

I can’t say it any other way: I love dance / J’aime la danse.

Submitted with respect,

Michael Trent, President, National Council, Canadian Dance Assembly/Assemblée canadienne de la danse.


EXECUTIVE DIRECTOR REPORT Overview The National Council of the Canadian Dance Assembly (CDA) engaged in a Strategic Planning process in the fall of 2009. The plan, which encompass years 2009-2010 – 2012-2013, was built on five key priorities:

1. Sustain and strengthen public policy initiatives; 2. Strengthen the national dance network; 3. Develop an informed and engaged dance community; 4. Build membership; 5. Maintain a healthy organizational culture and develop human and financial resources.

In order to achieve these goals, CDA has established a key action that could support the core elements of a global strategy : the National Campaign I love dance- J’aime la danse 2011-2017.This campaign includes the 5 strategic priorities, focused to support the success, wellbeing and growth of the national dance community. There are three main components to the National Campaign: policy representation, public engagement, and empowerment of the professional dance community. The campaign launched in 2011 with initial preparations and defining of collaborative partnerships and will be released to the public in April 2012 with a launch of the first National Dance Week, and continue until 2017, in order to coincide with the 150th anniversary of the Confederation. CDA has become a reputable force within the arts sector, such that the organization is valued for the programs and services it provides. Thanks to the innovation of the I love dance campaign, CDA is seen as a key player within the Canadian cultural landscape. CDA encouraged its membership to become actively involved in its work, stimulating opportunities for working together, and providing a feeling of cohesion, inclusion and community. The Standing Council monthly skype calls were also a great way to engage members on a more regular basis. CDA recognizes the vastness of our country and ultimately strives for dance professionals in every province to feel that they gain from our services. 2010-2011 saw a period of transition at the leadership level and CDA entered this year with a new vision and direction set by the Executive Director and National Council. In keeping in line with our mandate and strategic plan, the organization has entered its next phase of development.

CDA continues to evaluate its success against its 3 year business plan, monitoring goals and objectives and tracking growth and development. CDA has made significant steps in reaching its expressed goals by increasing membership, increasing the level of engagement from members, enhancing its communication tools and online resources, increasing CDA’s profile and presence and continuing to deliver and diversify a high quality of services to its members and stakeholders. Since the commencement of this strategic plan, CDA has seen an increase in membership from 349 to 509 members, marking a significant growth of 46%. Administrative and Financial For year 2010-2011 CDA had planned for the recruitment of the new Executive Director and Nathalie Fave began her work with CDA August 9, 2010. Staff growth appeared to be key to organizational sustainability and development and therefore in 2010, CDA was successful in applying for the hire of an Administration Officer who works with the organization 25 hrs. per week through a program that helps support organizational employment. Over the past year, CDA also developed a strong volunteer strategy that amounted to 10 to 15 volunteer hours a week. In addition to growing the staff and membership, the organization planned to improve efforts to solicit individual and corporate sponsorship: donations (including sponsorship) for year 2010-2011 increased from $1,800

to $6,000. Additionally, the organization diversified its revenue sources by finding other grants and in that field, we grew from $126,000 to $152,000. The overall budget increased from $163,000 to $210,000, showing a total increase of $47,000. Since a series of new initiatives and projects have been developed over the past year, staff shifted their work in order to be better focus their roles. Aviva has increased her responsibilities and skills in taking in charge the day-to day financial duties and increasing her administrative and program management responsibilities. Mike became more and more involved in marketing, social media, designing and coordinating communication activities, which increased with the start of the campaign, while at the same time keeping in touch with all our members. Mahad acts as a constant administrative support, switching from travels arrangements to press release or internet research. Communications and information exchange In order to improve our online presence, CDA has undertaken a major website redevelopment project. CDA is more and more diversifying its web presence, connecting through this new and improved website, Facebook site, and Twitter account and providing improved connectivity between CDA, its services, and its members. CDA’s new website launched in the Spring of 2011 housing a more sophisticated membership directory, increased resources, publications and news items, and new features such as an events calendar. These online tools have significantly increased our web presence and website hits. CDA also continued to work on the collaborative project of creating a national web-based dance ‘portal’ together with The Dance Umbrella of Ontario (DUO), The Dance Current (Dance Media Group/Groupe Danse Média) and Dance Ontario. The group successfully received a grant from the Department of Canadian Heritage to realize the first phase of the project. The overall vision for the project is to build an online portal to dance in Canada that will serve the professional dance community and dedicated dance audiences, and – importantly – entice new dance audiences and dance supporters to engage with and participate in the art and/or practice in their desired manner.

In addition to improving online presence, CDA desires to improve the personal connectivity of our members and potential members by connecting in person at regional activities.

CDA’s National Conference was held in Toronto in the fall of 2010 in partnership with the CanDance Network and the CCI-Presenting Network. This marked the largest conference held to date bringing together over 100 artists, presenters, administrators and educators together to network, dialogue and plan for the future of the dance community. All members of the various standing councils had opportunity to meet during this time. Additionally, building on the success of the last meeting in 2008, CDA once again convened the Ballet Companies for an in person meeting. The group has committed to meeting more regularly and many positive outcomes resulted from this fall gathering, including working collaboratively towards developing a national touring grid. Regional meetings were also held in Vancouver, Montreal, and Ottawa in order to introduce CDA’s new Executive Director, Nathalie Fave, to the community as well as host discussions and round tables, particularly around the I love dance/J’aime la danse National Campaign. In addition to these regional gatherings, CDA met with various members of the community in Montreal and Toronto to host discussions surrounding the building of the National Campaign and discuss partnerships and areas of collaboration. Membership Development The dissemination of information and the recruitment process are easier given the appeal of the campaign. The National Campaign I love dance/J’aime la danse is a powerfull attraction tool. In order to increase opportunities for members to connect and stimulate dialogue across the country, CDA has instigated monthly Standing Council meetings via skype which helps to support the connections and retention of our members. During this fiscal year, membership revenues increased from $35,000 to $39,000 and now exceeds 500 members. Given the current enthusiasm around the campaign CDA expects for this to increase in the following year. CDA continues examining areas of gaps in membership representation and develop membership in other categories such as business affiliates. CDA continues to seek further opportunities to partner strategically with other organizations

and associations to help broaden our membership. We are currently in discussion with several regional organizations about investigating the feasibility of membership agreements. Our strategic membership partnerships with CADA-ON (formed in 2008), and CADA-BC (formed in 2009) have accounted for much of this growth. These alliances have proven to be mutually beneficial for the organizations and our shared membership. CDA has begun investigating the potential of a national training subsidy program for dance artists. Currently, training subsidy is available through membership with the RQD, CADA ON and CADA BC. The notion of nationalizing such a program emerged from CDA Standing Council meetings of individual artists in 2006 and 2008. CDA has successfully applied for 2 Flying Squad grants from the Canada Council to engage Barbara Richman and Mary Elizabeth Luka to conduct research around the feasibility of this project. Initial research was presented at the National Conference in the fall of 2010, a full report is expected to be released shortly which will be made accessible to our members. The second phase of the project is currently underway. Several new membership benefits have been activated over the last year. 1. National Campaign - offering our members a range of artistic opportunities and visibility 2. Access to a discounted rate on translation services (English to French) 3. Standing Council meetings via Skype In order to continue developing membership benefits, with the support of the Canada Council, CDA will investigate the capacity and develop a plan for the organization to offer members health insurance and related benefits. Advocacy CDA continued working with its existing advocacy partners as well as build relationships with new organizations. In order to increase the visibility of the organization, CDA attended more events and gatherings and engaged in national lobbying and advocacy initiatives, like the Day on the Hill or the Election Campaign Advocacy groups. Educating and consulting the dance sector continues to be an important priority as well as supporting the work of our regional organizations. CDA continues to raise the profile of artists in order to have an impact on votes and increase the interest of policy makers. CDA is called upon frequently to provide consultation and commentary to advocacy partners and the media on relevant issues that impact the sector. Additionally, CDA’s press releases are circulated throughout the membership, partners and media outlets to ensure national exposure. CDA instigated media attention in August in respond to the devastating cuts in BC and its ripple effect in the arts community. In year 2010-2011 the organization was also interviewed on TFO, to discuss the role of dance in Ontario and shedding light on the provincial dance scene. The organization continues to work closely with its advocacy committee as well as other arts and social service organizations such as the Canadian Conference for the Arts, the Canadian Arts Coalition, and The Ontario Nonprofit network. CDA’s Executive Director currently sits on the policy committee of the Canadian Conference for the Arts. Performing Arts Alliance – In the fall of 2010, the Performing Arts Alliance (PAA), which includes the Canadian Arts Presenters Network (CAPACOA), the Canadian Dance Assembly (CDA), the Professional Association of Canadian Theatres (PACT), Opera.ca and Orchestras Canada, held a joint meeting of its respective Board members and Executive Directors in Ottawa. This gathering provided an opportunity for board members to meet and discuss the future of the PAA, highlighting the necessity of common advocacy actions and leadership training. The Coalition organized a joint artistic gathering during the same week end. Participants met with more than 100 members of Parliament at that time. Looking forward CDA continues to strengthen its position as the national organization for dance. The accomplishments of the organization during the 2010/11 year have all helped aid this growth and secure CDA’s place as a reputable and resourceful service organization. Through the work of the National Council, staff and membership we expect that the momentum will continue to build over the next number of years.

The new initiative of the I Love Dance/J’aime la Danse National Campaign is already providing ability to help raise the profile of dance and strengthen bonds between professionals, amateurs, audiences and politicians. The project is intended to reinforce the professionalism and the visibility of the dance community at home and on tour, and thereby benefit Canadian social, cultural and economic development. It will also help develop unique benefits and services that will strengthen collaboration and commitment to the expansion and development of dance as integral to Canadian culture. Encouraging a cohesive and inclusive environment, the National Campaign is not only embracing the professional dance community but engaging youth groups, elders, amateurs as well as out-reach to new immigrants. The project is dedicated to advance dance through a focus on community inclusiveness, economic effectiveness, outreach and visibility across the country CDA has made new efforts to generate income through individual donations by initiating an annual donation drive to our members via canadahelps.org and a mailing campaign. Additionally, through the National Conference, the organization saw an increase in sponsorship and donations which helped support CDA activities. Building on the success of our current efforts to secure sponsorship for our national conference, we intend to pursue more significant levels of sponsorship from within and outside our membership base to support regional and national programming. As we increase programming and outreach activities, CDA is seeking out corporate partnerships to help secure the financial health of the organization. The organization has also explored the potential of accessing special project support from public funders and foundations in addition to the support it receives from provincial and federal funding agencies and has put forward several applications for the upcoming year. At the end of fiscal year 2010, CDA’s budget was around $160,000. The organization will now finish year 2010-2011 with a budget of around $210,000 marking a significant growth. Additionally, the organization originally budgeted a deficit for year 2010-2011 of -$4,466 (In June the budget had been revised with a deficit of $-9,000) which has now been reduced to -$1,410. When I read the mandate of CDA, I find that it is more and more reflecting a reality. The Canadian Dance Assembly advocates for a healthy, sustainable environment in which professional dance practice can grow and thrive. CDA cultivates a strong national voice for Canadian professional dance and supports the development of resources for this field of artistic expression. Through conferences, workshops, and networking events we connect the dance community from coast to coast, building a cohesive and dynamic milieu. Everything we do works toward this goal of supporting the dance milieu in Canada, with the support of our members and partners. Additionally, CDA is promoting the Dance Mapping project at our regional events and providing opportunity for the Council to present information and connect with regional members. The current AGM report is relative to the fiscal year ending up 7 months after I have started as Executive Director. A lot of things have already changed since April and we will have the pleasure to bring you additional good news in one year. Although we are all aware that cuts are going to happen, we do know that this campaign will allow us to gain more. And before all, thanks to the Campaign, we are currently building a strong community, and a connected family. Everywhere in the country, people are spreading the word and I can see the increase in attendance in our meetings, our gatherings, invitations to speak at events. I look forward next year where I can tell you of more partnerships and events! The organization underwent a period of transition and hired myself as the Executive Director one year ago, providing me with trust, advice, and confidence, though I was not familiar with the dance community. I am pleased to have shown you that I was able to reach the goals I as mentioned above, and I look forward to continuing to work together. My list of thank you is in my heart yet so long that I would need 4 pages more to put all the names of all the people who have helped me, and supported CDA. Thank you to the National Council, and in particular the Executive committee, the dedicated finance committee, the powerful advocacy committee, and of course CDA’s board chair Michael Trent.

Thank you to our regional dance organizations and partners, who are always hospitable when I arrived in Vancouver, in Winnipeg, in Ottawa, in Montreal. Thank you to the people who have helped me step in to my current role, Kathi Sundstrom, Jim Smith, Gilles Savary and Judy Harquail. Thank you to the ones who help me organize the concept of the Campaign, Ronald Holgerson, Garry Neil and a special thank you to Alain Dancyger, whose support and engagement have been systematic and resourceful. Thank you to the Standing for their support in the I Love Dance/J’aime la Danse National Campaign, especially the Ballet companies. Thank you to Lorraine and Marc at the RQD, who opened their hearts and spirits for a renewal of our dialogue. A special thank you to our funders. They have not been only grants providers, but they have slowly become advisors, supporters, and friends. A special mention to Ellen Busby, Michael Murray, and Myles Warren and all your colleagues. More officially, thank you to the Canada Council for the Arts, to the Ontario Arts Council, and the Department of Canadian Heritage. Before finishing, a special thank you to Aviva. Aviva, you are an incredible work partner. Thank you for your dedication. I could dive into the development of CDA, knowing that you would constantly take care of the daily duties. Thanks to Mike, whose talent is reflected in all the flyers, ads, commercials and announcements that you receive. And a big thank you to the new born of CDA, Mahad, for his continuous administrative support. Thank you to our volunteers, particularly Kabibi, Nini, Sonia, and Liisa. It is not easy to work with someone who has constantly new ideas and new projects, who jumps on all opportunities to raise the profile of dance. But your flexibility and tolerance have been wonderful and you never complained....thank you so much! And I would not finish this special series of thank you without mentioning my partner Garry and my children Oriana, Charles and Georges, who supported me in the most efficient way, accepting my trips and load of work with a deep generosity. Thanks to all of you. With respect,

Nathalie Fave, Executive Director, Canadian Dance Assembly


TREASURER’S REPORT

CDA's total operating results for the fiscal year ending March 31, 2011 exceeded budget Overall results for the year are:

*revenues of $210,273 *expenses of $211,683 *operating loss of ($1,410) -verses budgeted loss ($4,466) *at year end the accumulated reserves are now $9,484

Cash Flow management can be challenging for the organization in January - March due to the cyclical nature of revenue streams. The organization continues to concentrate on increasing earned revenues from membership and fundraising as well to identify and secure new sources of grant revenues. Revenue Analysis Below you will see a comparison of revenues from 2009/10 and 2010/11, and results vs. budget for 2010/11

*GRANTS continue to represent the largest contributor of revenues at 68% Canada Council for the Arts - Our operating grant increased to $94,000 from $87,000 Ontario Arts Council - Our operating grant was stable at $29,000, we also received a supplementary grant of $4,628 Canadian Heritage - received a translation grants of $4,919 * MEMBERSHIP -The most important area for potential revenue grow. Revenues from membership was up from last year by $5,230 or 15% * CONFERENCES - This years conference was a big success financially for CDA, over budget by $5,852, and $5,500 higher vs the 2009 conference *FUNDRAISING - up over last year, primarily due to sponsorship for the conference. Individual down $400 from last year, this is a major opportunity for future growth for CDA OTHER EARNED REVENUES are small contributors to overall revenues presently

Expense Analysis Operations & Staffing costs are the largest expense item at 67% of the budget Staff and board have done an excellent job controlling expenses and working to the budget Member service expense up over past year as result of the conference, and the completion of the new website and activities associated with Flying Squad Grant National Training Subsidy Program We had to make an adjustment regarding errors in prior years re GST resulting in a $5,054 expense item in this year

I would like to thank Aviva Fleising for her commitment to the finances. It has been a year of transition for CDA I commend Nathalie for her leadership, I welcome Jennifer Wan to help steward CDA forward. CDA would also like to acknowledge and thank accountant Chiaki Nemoto and Francis & McKinney for their services on our audit. It has been a pleasure serving as CDA Treasurer for the past 5 years, I thank you for the opportunity. Kathi Sundstrom Treasurer

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ADVOCACY REPORT As the voice of Canadian Dance, the Canadian Dance Assembly (CDA) speaks for its membership to a myriad of stakeholders: the public, policy makers, politicians and those that work in and practice the art form. The advocacy committee of CDA is charged with serving as a focal point to marshal, channel and focus the collective energy within the membership to achieve positive change. To this end, in 2010/2011 CDA staff was supported by the advocacy committee on a number of initiatives. In June 2010, in response to a request for feedback from Canadian Heritage, CDA provided input to the advisory panel assembled to refine the Canada Prizes for the Arts and Creativity program. CDA communicated that this consultation process might have better served the stakeholders had it occurred prior to the Canada Prizes being announced as arts sector priorities could then have first been identified. CDA highlighted that issues related to international market access and the role of cultural policy within foreign policy are viewed as a greater priority for much of the arts sector. CDA commended the decision to have the prizes administered by the Canada Council for the Arts, endorsed the inclusion of a mentorship component and encouraged the examination of the existing suite of awards and prizes administered by the Canada Council for the Arts to understand where there might be under recognized areas of excellence. Also in June of 2010, CDA provided input to the Canada Council for the Arts for its 2011-2014 strategic plan. While commending the Council for its ongoing work, CDA provided the following recommendations:

• Consider ways in which the Council can further support international market access and development without compromising core programs of support.

• Enhance Council’s efforts to promote the value of artists and the arts in Canadian society, provoking greater demand for and attention to the activity it supports.

• Give attention to the larger artistic ecology that encompasses the full range of artistic activity in Canada from training, development and creation, production, presentation, education and outreach, dissemination, and preservation, from professional to amateur, from Council funded activity to non-funded activity.

• Continue to lead policy dialogue among federal, provincial and municipal funding agencies, working towards improving public arts investment levels in all regions of the country.

CDA welcomed new Executive Director Nathalie Fave in August 2010 and she hit the ground running with the September 23-265h 2010 National Conference fast approaching. The conference was well attended and enthusiastically received, and provided a forum for the national dance community to meet and explore common issues. From an advocacy perspective, it was particularly interesting to hear from colleagues in Britain regarding Dance UK initiatives, the Dance Manifesto and Dancing Parliament as well as from our colleagues at Regroupement Québécois de la danse (RQD) about their États Généraux. This was also an opportunity to connect with British Columbia colleagues and hear first hand the effects of recent, drastic provincial funding cuts. This did prompt an internal discussion regarding CDA policy as to involvement in regional issues. It was determined that when desired by our regional partners, CDA may indeed have a role to play, especially in exceptional circumstances. In this spirit, prior to the national conference, the CDA had written a letter to B.C. Premier Gordon Campbell, urging reconsideration of recent provincial government decisions. CDA’s advocacy work is undertaken in collaboration with a number of partner organizations including the Canadian Conference of the Arts (CCA), Canadian Arts Coalition (CAC), Performing Arts Alliance (PAA), Regional Dance Service Organizations, and other National Dance Service Organizations. In November 2010, representatives from the CDA Board, staff and membership participated in PAA Board meetings and the CAC organized Arts Day on the Hill in Ottawa. Uniting around two priorities, increased investment in the Canada Council for the Arts by $30 million annually over 4 years and; $25 million in new investment for

international market access and development initiatives, Day on the Hill participants presented a unified front in over 100 meetings with MPs. In March 2011, CDA joined colleagues as a signatory to The Canadian Cultural Industries’ Statement on Bill C-32, The Copyright Modernization Act. This is a complex issue and much deliberation and discussion went into the decision to lend our support to this document. With the writ for the federal election dropped in March 2011, CDA worked closely with colleagues at the PAA, CAC and CCA to coordinate election specific messaging and strategy. Having taken the position that CDA would work with and support each of the aforementioned bodies, it was a particularly active time for staff leading to the May 2nd 2011 election as they worked to keep the membership engaged and informed while continuing the ongoing work of the organization. As the advocacy committee co-chair, it’s been exciting to be a part of this year and in particular to see the organization begin to advocate in a more expansive, strategic context with the design of the “I Love Dance Campaign”, a broad based, multi-year campaign focusing on professional empowerment and visibility, public engagement and advocacy. These three inter related areas truly highlight the importance of dance to Canadians; when the public is engaged, they support the art form by dancing, viewing and voting; politicians and policy makers that are part of this public listen to their constituents and recognize the value of dance through their own experience; and when the public and policy makers are engaged, our professional practitioners are empowered. I know the staff has been intimately and energetically engaged with designing the campaign, rallying support and consulting stakeholders and I can’t wait to see its public launch in April 2012. In closing, I would like to thank the committed volunteer advocacy committee listed below and the dedicated CDA staff that work tirelessly in the name of dance. The 2010-11 Advocacy Committee members include: Randy Joynt (Co-Chair) Executive Director, Artspace Inc. Alain Dancyger (Co-Chair) Executive Director, Les Grands Ballets Canadiens Nathalie Fave Executive Director, Canadian Dance Assembly Michael Trent President, Canadian Dance Assembly Janice Beley General Manager, Raven Spirit Dance Paul Caskey Artistic Director, Live Art Dance Productions Chrystine Chambers Program Officer, Strategic Arts Management Nicole Mion Artistic Director, Springboard Dance Lata Pada Artistic Director, Sampradaya Dance Creations Gilles Savary General Manager, Fortier Danse-Création Jim Smith Producer, Eponymous Amanda Hancox Executive Director, Dancer Transition Resource Centre Garry Neil Chair, Dancer Transition Resource Centre Respectfully Submitted,

Randy Joynt, Advocacy Committee Co-Chair

2011 Annual General Meeting of Members September 10, 2011, Toronto, Ontario

NOMINATING REPORT

The National Council of the Canadian Dance Assembly is composed of the Chairs of the Standing Councils, who are elected by their Council memberships, and additional Members at Large (up to seven) who are appointed by the National Council to ensure broad geographic representation and a good mix of disciplines and skills. The terms for the Chairs of Standing Councils are three years, unless a Council has to fill a position that has been vacated during that term’s cycle. The appointed members serve for terms of one year, which may be renewed, to ensure flexibility in representation. The maximum term of service for a National Council member is six consecutive years. The Canadian Dance Assembly announces the following National Council members for 2011-2012: Standing Council Positions (these are elected positions with three year terms) Dianne Milligan (NS) Chair of the Service and Support Standing Council (2013) Gilles Savary (QC) Chair of the Dance Companies Standing Council (2014) Barbara Clausen (BC) Chair of the Dance Presenters Standing Council (2014) Chrystine Chambers (ON) Chair of the Freelancers and Consultants Standing Council (2012) Louis Laberge-Côté (ON) Chair of the Independent Artists Standing Council (2014) Jeff Herd (MB) Chair of the Ballet Companies Standing Council (2014) Lys Stevens (QC) Chair of the Research & Writing / Training & Education Standing Council (2014)

Members at Large – (these positions are appointed, term is one year) Jay Rankin (ON) Alain Dancyger (QC) Jennifer Wan (ON) Randy Joynt (MB) Andrea Gunnlaugson (BC) Ex-Officio Positions: Michael Trent (ON) – Past President Officers of the National Council The officers of the National Council are appointed by the National Council immediately following the Annual General Meeting. The National Council would like to thank Jim Smith, outgoing Past-President. Jim has served a full six year term on the National Council and his valuable contributions to the Executive Committee, Human Resources Committee and Advocacy Committee have been instrumental in guiding the organization through its various stages of development. Harry Paterson and Kathi Sundstrom will be stepping down from the board after years of dedicated service to the National Council and Executive. Harry served as Secretary as well as Chair of the Ballet Companies standing council and Kathi has held the position of Treasurer and has been an active member of the finance committee. Both individuals have helped stewart CDA over the years in maintaining a healthy and sustainable organization. The National Council would like to thank outgoing members Mary Jane Warner, Michael Greyeyes and Sasha Ivanochko. Mary Jane completed a full six year term with the Canadian Dance Assembly and we are grateful for her time and commitment. She sat on the Executive Committee and the Human Resources Committee as well as chaired the Research & Writing / Training & Education standing council. We would also like to thank outgoing member Sasha Ivanochko for her generous contributions and dedicated presence as Chair of the Independent Artists standing council and programming task force. As well, appointed director Michael Greyeyes had to step down after serving on the National Council for two years in order to fulfill professional commitments and we are grateful for the time he was able to give to CDA.

I would like to extend a special thank you to the other members of the nominating committee: Gilles Savary, Judy Harquail and Jim Smith. Respectfully Submitted,

Michael Trent Chair of the Nominating Committee

2011 ANNUAL GENERAL MEETING OF MEMBERSBarb Clausen (Vancouver, BC) Chair: Dance Presenters Standing...

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