.Danso (Chungsung gok)
The meaning of ‘Chungsung’ is ‘high’ in Korean and this song contains higher tunes compared to other songs. This is played by Danso, a traditional Korean woodwind instrument that is played vertically. Because the sound of the Danso is clear but not loud, it is often played solo and Chungsung gok is the most representative solo piece for Danso.

1.Seol Janggu
This is a solo piece for the Janggu player, a leader of nong-ak (literally means “farmer’s music”), which requires fancy skills to improvise Janggu dance on free rhythms.

2.Seungmu Drum
Seoungmu is a Korean dance performed by Buddhist monks which is based on the mixture of flowing movements and stillness. This drum dance expresses sorrow and nirvana of the monks.

3.Jindo Drum Dance
Jindo Drum Dance has its roots in nong-ak, which was traditionally performed in rice farming villages in order to ensure and to celebrate good harvest. This is very masculine dance that blends in with cheerful tune and beautiful movements, performed only in Jindo.

4.Kyunggido Danggut-Jangdan
This is common performance in Kyunggi province in South Korea. Its aim is to wish for the well-being and prosperity of a particular village. It contains vermischte taktart beat which might be difficult for the general public to understand.

5.Beona Nori
Beona Nori is a performance with beona. This can be a dish, a basin or a sieve frame. Performers spin and toss the beona into the air by using a thin pipe or a long wooden stick while exchanging witty talks with others. This nori integrates various activities such as dance, music and talks.

6. Binari
Binari is a traditional religious action for Koreans with a song of words of blessing to make a wish which means “I wish you all the best” in pure Korean words.

7.Dosalpuri
The word ‘sal’ stands for inauspicious or even evil influences that may affect out lives, and Dosalpuri is a sort of shamanistic rite that is supposed to rid us of such influences. This dance also has a meaning of connecting this world and afterlife.

8. Ssitgim gut
This rite is used to cleanse the spirit of a deceased person. There is a Korean belief that when someone dies, his or her body cannot enter the world of the dead because of the impurity of one’s spirit. The Ssitgim gut washes away this impurity and wishes people many more years of happy life.

— Organized by the Korean Dance Studies Society of Canada  http://www.koreandance.net/

Biographies
Yeon Shik Park, Visiting Artist
Lead Performer, Sin Myung

Yeon Shik Park began his study in traditional Korean music and folk dance at age 18. He has performed with Namsadaingpae (meaning “Traveling Entertainers”) and Binarisoe, a military arts troupe. At age 23, he entered the Korea National University of Arts, where he was trained by Duk Soo Kim, one of the pioneers in modernizing Korean traditional arts and founder of samulnori, which is characterized by small band of men doing acrobatic dance while playing percussion instruments. Upon graduation, Park was recruited by AriKorea and toured the Edinburgh Festival in England, the Avignon Festival in France and many more. He is now the lead performer in Sin Myung, a samulnori company that has done performances and outreach tours throughout Korea and numerous universities in the United States.

What might have helped?  What could have delayed or even completely avoided this breakdown of lifelong friendships?

A small helping of that big concept ‘role clarity.’  You can sometimes call them job descriptions, or implicit agreements of capacity, or even just ‘here is the junk you will do if I do the stuff I say I am going to do.’  This is a key component of putting together any sort of production or company.  Ideally at the very start of the project you will all get together and explicitly work through the process.

If Tony’s job is the program, and Maria’s job is the dance, and your job is the set design that’s all well and good.  What you have to determine is how do those roles interact, who will make decisions and how?  The more detail you can give to the situations that are likely to arise during the project, the less ambiguity there is later on.  I always like to write this stuff down, that way everyone remembers what is expected of them and there are no surprises later.

The best part about this is that in your post-mortem after the show you can all review the stuff you said you would do and compare it to what actually happened.  This way you can find the areas where things got stuck, things went well and make a plan of attack for the next time!

February 2 & 3, 8pm
Koerner Hall in the TELUS Centre for Performance and Learning, 273 Bloor St. West.

Choreographed by Germany’s Lars Scheibner featuring ProArteDanza, The Elmer Iseler Singers and the Amadeus Choir, conducted by Lydia Adams. A contemporary answer to Rachmaninov’s Vespers, The Sealed Angel integrates 70 voices, 5 dancers, 2 boy sopranos and a solo flute. The combination of contemporary dance and a capella singing manifest in a visually stunning, powerful and stimulating panorama.

Act now, tickets are limited!

Purchase through The Royal Conservatory’s box office:
416-408-0208  www.rcmusic.ca

Join us for wine and hors d’oeuvres to celebrate the contribution and leadership of our departing Executive Director, Christine Moynihan.

Please confirm your attendance by emailing rsvp.duo@gmail.com and feel free to circulate this invitation to other members of the dance community. Let’s make this a party to remember!

You are invited to join us at an Open Dance Rehearsal for our production of Sealed Angel choreographed by Germany’s visionary Lars Scheibner, featuring dancers from Toronto’s critically acclaimed ProArteDanza.

A profoundly moving work by Russian composer Rodion Shchedrin, Sealed Angel is being performed February 2 & 3, 2012 at Koerner Hall. The production incorporates 5 Toronto based female dancers, a choir of 70 voices and 2 boy sopranos. The integration of contemporary dance and a capella singing manifest in a visually stunning, powerful and stimulating panorama. It is an event not to be missed.

Lars Scheibner has been in town for a 1-month residency, working closely with 5 Toronto dancers to rehearse this upcoming production. Lars has agreed to open up the rehearsal process and invite emerging and professional dancers to get an inside look at the development of this special production.

At each Open Rehearsal dance students will watch the professional rehearsal process and have a 30 min Q & A with Lars and some of the professional dancers. Please arrive to the Pia Bowman Studios by 1:45pm. There will be no late admittance to once the rehearsal is in progress.

Space is very limited for each Open Rehearsal. Registrations is on a first come, first served basis. If you would like to inquire about organizing a group of 10 or more to attend please call or email Amber Ebert at ambere@soundstreams.ca or call 416.504.1282.

Please click http://www.youtube.com/watch?v=oneKTpqwxdY to watch link to a brief video of a 2006 performance of Sealed Angel by the Berlin Radio Choir. Feel free to pass this information along to those in your community.

www.soundstreams.ca

(Don’t forget to check out the actual presentation! It’s happening on Feb 2 & 3 at the Koerner Hall, 273 Bloor St. West. Time: 8pm. Tickets at www.rcmusic.ca)

Application form (English): 2013 dmic application form ENG

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Submission information (French):

Application form (French): 2013 dmic application form FRENCH

Job Description
Established in 1993, Native Women in the Arts is not-for-profit organization for First Nations, Metis and Inuit women from diverse artistic disciplines who share a common interest in culture, art, community and the advancement of indigenous peoples.

Now, in its 18th year, NWIA is embarking on a new stage of growth. We aim to expand our horizons both nationally and internationally and to cultivate a new generation of artistic talent. NWIA continues to pursue the highest standards of artistic excellence by presenting high quality artists, and by offering exceptional professional development opportunities to emerging artists.

The Artistic Producer supports and promotes NWIA’s artistic projects and community development activities; develops the resources of this organization through implementing effective grant-writing and fundraising strategies liaises and builds a positive profile with all sectors of Aboriginal arts, culture and community, culturally diverse and mainstream communities; and ensures that systems are in place to maintain the smooth and efficient functioning of the organization.

The Artistic Producer will be mentored in the first year by Sandra Laronde in production, strategic development and marketing, financial management, and building community relations, but will require self-motivation and initiative. The Artistic Producer position offers flexibility in terms of work hours either 3 or 4 days per week (minimum 25 hours per week, with potential to become full time after 1st year) and flexibility in terms of in-office work time

Responsibilities Include:
Production
• Programs and coordinates all aspects of Native Women in the Arts’ projects: performances, concerts, exhibits, publications, symposiums, and community development projects.
• Coordinates all logistics related to venue, travel, accommodation and other tasks related to production.
• Prepares and executes all contracts between Native Women in the Arts and artists/speakers/leaders’ partners.
• Maintains communication with artists and community members as required.

Community Liaison
• Liaises with all sectors of the Aboriginal, culturally diverse and mainstream communities in terms of art and culture, and educational institutions, and helps to build positive community partnerships and greater organizational profile.
• Represents NWIA at Aboriginal and Artistic & Community events, and supports an outstanding image for the company and its work.
• Represents NWIA to funders, arts presenters, partners, corporations, individuals, government, foundations, and sponsors with the support of the Mentor.
• Liaises with culturally diverse communities and international Indigenous communities.
• Liaises and coordinates volunteers of NWIA as required.

Funding
• Identifies opportunities and prepares grant applications for funding to all levels of government
• Prepared final reports and financial information associated with government support.

Fundraising
• Works with Mentor, Board and expert consultants to develop fundraising strategies: individual, corporate, foundation, sponsorship, and special events.
• Researches and develops potential funding sources.
• Improves in-house resources for accessing information about possible funding sources (i.e. online databases and other directories).
• Prepares Proposals for funding to corporations, foundations, and other sources of sponsorship.
• Ensures that the organization is maximizing funding from all sources

Promotion & Marketing
• Promotes and publicizes all projects, events and activities at NWIA
• Prepares promotional materials for projects with the assistance of the Mentor.
• Assists in the dissemination of all promotional materials
• Supervises niche and joint marketing activities

Office Administration
• Ensures that physical systems are in place and working effectively
• Executes day-to-day activities of the office, including;
• Reception duties: incoming and outgoing mail, answers the phone, responds to general inquiries, and greets visitors to the office
• Attending to inquiries received via phone, fax, email, website and regular mail
• Handling correspondence and couriers as needed
• Coordinates and supervises facility-related maintenance including office equipment

Finances
• Prepares all projects budgets (all operating grants are with the assistance of the Mentor and NWIA’s Financial Officer).
• In conjunction with the Financial Officer, prepares governmental financial reports, including arts council and government projects grants, employment grants, and other grants as deemed appropriate.
• Takes responsibility for carrying out the day-to-day finance functions, including:
- Preparing bank deposits and managing petty cash
- Issuing and tracking payment receipts
- Issuing charitable donations receipts Board & Governance
- Coordinates Board and Community Advisory meetings
- Prepares materials for Board Meetings and Community Advisory meetings
- Coordinates communication to all members and dissemination of all relevant and necessary information to members

Requirements
• Excellent organizational and communication skills; highly detailed; self-motivated.
• Ability to develop a deep understanding, commitment and engagement with the artistic vision of Native Women in the Arts.
• Appropriate leadership qualities are required to build internal and external healthy, positive and effective relationships.
• Ability to establish and maintain effective working relationships with Mentor, Board Members, consultants, experts, and relate to Aboriginal and culturally diverse community colleagues, the local and international arts community and general public.
• Knowledge and/or experience in the operations of not-for-profit arts organizations in general, and performing arts in particular.
• Ability to exercise judgment and action in performing all aspects of the work as part of a team; ability to function effectively and within deadlines.
• Experience with fundraising and grant writing for not-for-profit organizations
• Familiarity and involvement with the Aboriginal, Arts and Women’s Community
• Knowledge of computers and relevant software; knowledge of office procedures and record management.

To Apply:
• Submit your Resume or C.V with a cover letter detailing your interest in and suitability for the position.
• Submit an example of written skills (e.g.: section of a grant you have written, published article, marketing material you have developed). Up to one-page only.
• Indigenous ancestry (First Nations, Métis, Inuit or other international) will be considered an asset, however applicants of all backgrounds are encouraged to apply.
• Send application to: resumes@nativewomeninthearts.com
• Deadline: Tuesday January 31, 2012 at 5 pm.

Send Submissions To:
Native Women in the Arts
401 Richmond Street West
Suite 420
Toronto Ontario
Canada M5V 3A8
t: 416.598.4078
f: 416.598.4729
e: resumes@nativewomeninthearts.com

Organization Description
Established in 1993, Native Women in the Arts is not-for-profit organization for First Nations, Metis and Inuit women from diverse artistic disciplines who share a common interest in culture, art, community and the advancement of Indigenous peoples.

Conference Updates
Garth Fagan, Sean Cheesman, Lula Washington, Baba Chuck Davis

Talking about their new books: Brenda Dixon-Gottschild & Dr. Paschal Yao Younge
Screening of Everything Remains Raw by Street Dance Historian Moncell “ILL Kozby Durden”

41 Companies
4 Different Showcases
www.danceimmersion.ca for full schedule
Tickets 416.504.7528 www.artsboxoffice.ca

Full Conference Special Offer
$390.00 – 2 Days Only
Call ArtsBoxOffice quote “CANCON” to receive special offer
416.504.7529

International Guests, All-Styles Category, Intensive Workshops.

$10 Participants ($20 For Both Categories)
$15 Spectators

Host: Daniel Keith Morrison (The Moon Runners)

Showcases By: Unknown Element, Projextz (Wod 2011 Toronto Champs), Tense Image Crew, Bucc N’ Flvr, Og Wolfinstine (Mtl)

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Exhibition Battle: ‘East Vs West’ Battle

Ryan Dela Cruz (Bucc’n'flvr) Vs Greg (R.A.W.)(Twisted Ankles, 3rd Gen.)

3vs3 Exhibition Popping Battle: Heavy Hittaz Vs The Moon Runners

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Popping: 1 On 1 Battle

Judges:
Rashaad (Assassins, Urban Artistry, Wash.D.C)
Future (Assassins, Urban Artistry, Wash.D.C)
Mr.Steen (Big City Brains, Denmark)

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!!!!!!!!!!!!!!Dj: Dirty Dale Will Be Spinning The Whole Night!!!!!!!!!!!

https://Www.Facebook.Com/Events/224268544301385