Kay Armstrong began dance classes in Vancouver with Helen Crewe followed by brief studies in the Okanagan Valley with Mary Pratton. She continued her training in Vancouver in the 1940s with the renowned teacher June Roper, who sent over seventy students to careers with various ballet companies including the Ballets Russes. Other of her teachers include Princess Sylvia Arfa, the daughter of the Persian ambassador to the Romanoff court and a Cecchetti diploma holder who lived in Vancouver during World War II, and Dorothy Wilson who took over Roper's B.C. School of Dancing in 1941.
In 1946 Armstrong found work in the ballet troupe of Radio City Music Hall in New York City. She returned to Vancouver in 1947 succeeding Wilson as principal of the B.C. School of Dancing. In 1948 she and her dancers were selected to perform her choreography Masquerade Ball at the 1948 Canadian Ballet Festival. Unfortunately, the Winnipeg flood of April 1948 prevented Armstrong's group from attending the festival.
In 1950, she formed Le Ballet Concert, which performed in the 1950 Canadian Ballet Festival. Her company danced Étude and Le Rêve Fantasque which were both included on New York critic Anatole Chujoy's list of favourite pieces from the festival. Her work Étude was brought into the repertoire of the recently formed National Ballet of Canada by Artistic Director Celia Franca and included in the company's 1951 debut. In fact, it was Franca who likened Armstrong to Anthony Tudor in an article published in the RAD Gazette where she wrote of Armstrong, "Like Tudor, she is interested in psychological studies and combines the classical and modern techniques ...". Étude was described by Chujoy as an abstract ballet and he noted how well trained the dancers were. Le Rêve Fantasque was a morality play about a girl who goes to the big city to seek fame and fortune. Armstrong played the lead and Chujoy described her performance as having "fine conviction" and "excellent authority". Armstrong also designed many of the costumes for her works. A piece at the 1952 Canadian Ballet Festival, for which Armstrong received critical acclaim for her dancing, was London Fantasia about a bride and groom who are killed in the WWII air raids over London and whose spirits return to envy the surviving lovers. Other choreographic works from the 1950s, such as The Legend of the Black Swan and Stanley Park Sketches, were inspired by regional themes. Armstrong also danced and choreographed for the musicals produced by Vancouver's Theatre Under the Stars in the 1950s.
Her group performed in many local productions throughout the 1950s and toured British Columbia and Alberta in 1954. Remarkable as a pedagogue and a choreographer, Armstrong was awarded the Ralph Hiltz award for choreography five times, and she received a citation for teaching in 1978 from the Dance in Canada Association. She closed her studios in 1989 but continued to teach weekly classes at a local community centre.
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Dance Collection Danse would like to acknowledge that the land on which we work is the traditional territory of the Huron-Wendat, the Anishnaabeg, Haudenosaunee, Métis, and the Mississaugas of the New Credit First Nation. It has been a site of human activity, including dance, for at least 15,000 years and we are grateful to all the caretakers, both recorded and unrecorded, of this land and of Turtle Island. Today, the meeting place of Toronto is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work and dance in the community, on this territory.