HOME

SUPPORT DCD

SHOP

ARCHIVES

PUBLISHING

RESEARCH

EDUCATION

EXHIBITIONS

ABOUT DCD

DonateKEEPCANDANCING
ClickHereHotSpot


from Carol Oriold

I walked into my room early from lunch, and there was a group of ten Grade 12 students dancing. Not dancing as in "at the Friday night dance", dancing as in Express Dance. There were females and males and they were polishing their choreography. Now you have to understand that my school is in the heart of rural Ontario and Junior B Hockey country. Contemporary dance is not an adolescent male pastime here. Yet hockey players were among the participants who were trying to perfect a dance piece that they had created.

Why?

We were nearing the end of a unit of Express Dance and students were soon going to perform their dances which had evolved from a recipe I had given and thematic intentions that they had chosen. A boy in this group had composed original music on guitar after they had created the movements. "How conscientious of them to put in some extra rehearsal time outside of class," I thought.

That same day as I worked in my room after school, the group came in again, this time another group who also wanted to use the space to rehearse their dance. Rehearsal times were negotiated. I headed for the photocopy room. They kept rehearsing.

The next day during lunch in the staff room, the phone was for me. It was the first group of students, calling from my room. "We're sorry to bother you, but could you come down and watch our dance and tell us if it's good enough?"

Bother me? Good enough? The dance was amazing. The theme was DISEASE. How could such commitment and pursuit of perfection bother me? And to think, it had all started just a few classes ago with my leading a warm-up and now these students were pouring everything they had into perfecting their creation. They felt the stakes were high.

Education doesn't get better than this!

If you would like to add your own Express Dance anecdote, please fill in the form below. (Note: your submission may be edited for length and content)

 

top of page

 

 


 

 

home l shop dcd l history l links l donations l the collection l services l shipping policy l CIDD l exhibitions l CDFTP
educational resources l
visits & lectures l making archival donations l grassroots archiving strategy l personnel l RWB alumni

 

item6a1

item9
item8
item7
item6
item2
 

ARCHIVAL COLLECTION

 

LIBRARY

 

ORAL HISTORY COLLECTION

 

BOOKING RESEARCH APPOINTMENTS

 

SERVICES

 

GRASSROOTS ARCHIVING STRATEGY

 

CANADIAN INTEGRATED DANCE DATABASE

 

COLLECTIONS POLICY & ARCHIVAL DONATIONS

 

A to B

 

C to D

 

E to G

 

H to L

 

M to O

 

P to R

 

S to U

 

V to Z

 

SHOP DCD

 

DCD MAGAZINE

 

SUBMISSIONS

 

FOR BOOKSELLERS

 

EXHIBITIONS

 

RWB ALUMNI

 

CANADIAN INTEGRATED DANCE DATABASE

 

BOOKING RESEARCH APPOINTMENTS

 

FAMILY TREE PROJECT

 

EDUCATIONAL RESOURCES

 

VISITS AND LECTURES

 

DANCE HISTORIAN OF THE MONTH

 

CHOREOGRAPHIC DIALOGUES

 

EXPRESS DANCE

 

SELMA ODOM

 

ALLANA LINDGREN

 

VINCENT WARREN

 

LISA DOOLITTLE

 

MAX WYMAN

 

LELAND WINDREICH

 

KAIJA PEPPER

 

ANNE FLYNN

 

MARY JANE WARNER

 

MARIE BEAULIEU

 

CAROL ANDERSON

 

MICHÈLE FEBVRE

 

NORMA SUE FISHER-STITT

 

CAROL BISHOP-GWYN

 

PENELOPE REED DOOB

 

SUSAN CASH

 

LATA PADA

 

CHRISTOPHER HOUSE & DEBORAH HAY

 

DARCEY CALLISON

 

LOLA MACLAUGHLIN

 

SANTEE SMITH

 

BAKARI LINDSAY

 

COLEMAN/LEMIEUX

 

ENCORE ENCORE

 

PAGES IN HISTORY

 

BALLETS RUSSES CELEBRATES 100 YEARS

 

MEET THE NAVY EXHIBITION

 

DANCING THROUGH TIME

 

DCD BEGINNINGS

 

PERSONNEL

 

BOARD OF DIRECTORS

 

HONORARY ADVISORS

 

BROCHURE

 

TESTIMONIALS

 

DONATIONS

 

LINKS

 

SHIPPING & RETURNS POLICY

 

PRIVACY POLICY

 

NEWS ARCHIVE