ABOUT DCD

IN THE BEGINNING

In 1983, under the banner ENCORE! ENCORE!, research was begun into choreographies created by Canadian dance artists working in the 1940s and 1950s for the purposes of preserving their works through reconstruction, notation, videotape, and photography.

Assuming the enormous task of uncovering Canada’s fleeting dance story, as well as recognizing the importance of disseminating this information, DCD, with the assistance of the Laidlaw Foundation, began the task of interviewing dance pioneers as well as gathering documentation of their choreography.

The work of six Canadian choreographers was chosen, based on existing records, e.g., notes, film, photographs, music scores, and the availability of the original choreographer and/or dancers. These artists were: Gweneth Lloyd, Nesta Toumine, Nancy Lima Dent, Françoise Sullivan, Jeanne Renaud, and Boris Volkoff. Following three years of research, studios were rented and dancers were hired to learn the works. Choreographic directors David Earle, David Adams, and Daniel Jackson were employed to oversee the reconstruction rehearsals. The complete choreographies were videotaped and many were notated. The resulting documentation set an historical benchmark for Canadian choreography.

From this work, DCD produced a show based on the early Canadian dance story titled There’s Always Been Dance, which was performed at the Canada Pavilion at Vancouver’s EXPO ’86. Featuring Jackie Burroughs, Vanessa Harwood, and Ricardo Keens-Douglas, the 40-minute show was choreographed by Anna Blewchamp and written and directed by Jim Purdy.

As a result of the reconstruction research, Dance Collection Danse became a repository for and a national centre dedicated to Canada’s dance history. We have achieved a world-wide reputation as a pioneer in the collection, preservation, and dissemination of Canada’s dance legacies. DCD’s vast collection of dance-related material includes documentation and artifacts consisting of items such as business and personal records, choreographic notes, correspondence, house programs, film and video, audiotapes, photographs, props, sets, backdrops, costumes, visual art, and other memorabilia. We receive archival material as donations from arts professionals and the general public and we share our unique resources through public and virtual exhibits, workshops, publications and events. Originally focused on theatrical dance history, DCD revised its collections policy in 2018 removing the adjective “theatrical” so that the collection could encompass dance in all its myriad forms whether that is social, spiritual, or theatrical.

In the late 1980s, DCD began its electronic publishing program distributing books on floppy disks. DCD also established The Arts Network, which used a virtual Bulletin Board as a means of electronic communication. In 1992, DCD shifted to publishing books in print and has now published 40 titles. Dance Collection Danse Magazine is published annually and is the only magazine in the nation dedicated to dance history. We also maintain a vigorous virtual publishing program on DCD.CA, which is home to several exhibitions, podcasts, and Q&A series. In the early 2000s, DCD initiated its Grassroots Archiving program providing workshops and consultations to the dance community to help practitioners safeguard their works and archival materials while their careers continued.

Located in the founders’ Victorian house in downtown Toronto for the first 28 years of the organization’s existence, DCD moved to new headquarters in 2013 that provided more space for researchers and an exhibitions gallery. Exhibitions covered histories such as Alan and Blanche Lund, the Toumine backdrop collection, and the groundbreakings exhibits By Invitation Only: Dance, Confederation, and Reconciliation co-curated by Amy Bowring and Troy Emery Twigg, as well as It’s About Time: Dancing Black in Canada 1900-1970 curated by Seika Boye. A sale to developers pushed DCD’s headquarters to a smaller but vital space at 2 Carlton Street where we process new acquisitions for off-site storage and assist researchers in the Reading Room. DCD continues to maintain off-site storage in Oakville and Ajax, Ontario.

In 2020, DCD embarked on its most ambitious digital project to date – the creation of DCD Discover to provide greater access to DCD’s collection as well as dance materials held by other heritage and arts organizations. It is also a place for practicing artists and dance groups to archive their own histories digitally.