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Reaching a centenary is a major milestone for any organization whether it’s in business or the arts. The now infamous 2020 was such a year for the Royal Academy of Dance. Founded as the Association of Operatic Dancing of Great Britain in London, UK, the primary goal of the Association was to improve the standard of teaching ballet, or “operatic dancing”. Some of the most respected teachers living in London in 1920 combined their international ballet backgrounds to develop a syllabus – Phyllis Bedells (British), Lucia Cormani (Italian), Edouard Espinosa (French), Adeline Genée (Danish), and Tamara Karsavina (Russian). With Philip J. S. Richardson as the secretary, the Association’s work soon spread throughout the UK. Some of the British Commonwealth countries provided a natural pipeline for further expansion and advocates of the Association’s methods reached other parts of the globe such as Australia, New Zealand, South Africa, and, eventually, Canada. A royal charter received in 1935 led to a name change – the Royal Academy of Dancing (later Royal Academy of Dance), known as the RAD.
CELEBRATING THOSE WE'VE LOST
As caretakers of the Canadian dance story DCD sometimes gives context to the lives lost within the community - both online and in DCD Magazine. Here are two examples. The first was written after the passing of Brian Macdonald, the second in the wake of losing Grant Strate. (READ MORE)
After a 5-year collaboration with Ryerson Theatre School to hang and photograph these exceptional hand-painted backdrops, DCD Gallery presented a new exhibit revealing photography and designs of the few remaining ballet backdrops in Canada from the 1940s and 1950s. (READ MORE)
DANCING THROUGH TIME
Running in the summer of 2011, Dancing Through Time: Toronto's Dance History 1900-1980 explored the development of the city's dance scene from influential touring artists to vaudevillians to the ballet and modern dance booms to the diversity of dance forms present in the city. (READ MORE)
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.