The Training Society of Vancouver
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October 29/31/November 2/5/7/9

Delia Brett/ Deanna Peters / Alexa Mardon

Oct 29: Delia
Oct 31/Nov 2: Deanna
Nov 5/7: Delia

Nov 9: Alexa
*All classes at Left of Main (211 Keefer St)

Presented in partnership with Dumb Instrument Dance, the project artists of Public and Private will host a series of classes at Left of Main. taught by Working Class regulars Deanna Peters, Delia Brett, and Alexa Mardon.

Delia Brett

Class Description: I will teach a movement exploration class, which is rooted in a mixture of contact dance, based partnering techniques and somatic improvisation scores. It has been my experience that contact dance and improvisation can build imagination, spontaneity, strength, endurance and help to create a more resourceful and versatile dancer. Every class is a laboratory in which we pose a question to be researched through the play of dance. And every person, no matter what their experience, is an artist in their own right capable of answering that question for themselves. My classes are designed to shed the weight of habit and hesitancy in dance and create a body engaged and ready, alight with attention. By focusing each class on specific movement challenges we begin to increase our perceptive capacity and allow the imaginative world of dance to emerge.

I am an established local artist with over 25 years of professional experience in contemporary dance. I have been artistic director and choreographer with MACHiNENOiSY Dance Society for 13 years. I’ve been teaching dance since 2001. I have taught dance to people of all ages, abilities, genders and nationalities. I have taught across Canada, throughout the United States, Austria, France, Greece and Finland, as well as locally for, EDAM Dance, The Bachelor of Performing Arts Program and SFU. Currently I am teaching for Modus Operandi and with MACHiNENOiSY co-artistic director Daelik, at Left of Main.

I have been teaching yoga for 17 years and have an extensive knowledge of anatomy and bio-mechanics. I am an advocate for trans-disciplinary dance — one that incorporates the theory and practices of other disciplines in a way that gives equal value to all elements of a performance. I am interested in creating a dance language that acknowledges the intra-relation of a dancer with their environment; a language that is not concerned exclusively with the technical prowess of the dancer but one in which our attention moves between space, object, dancer, light etc.

Deanna Peters

Class Description: How does someone who kinda hates dance class, teach dance class? A colleague recently told me that it's necessary to 'document' my personal physical practice. Sharing it with you is a sort of document! I create, perform and train via improvisation and I include the whole of my movement experience in my practice: various dance forms, somatic approaches, physical theatre methodologies, sports and everyday gestures. Recently I’ve engaged in training in freestyle house dance, extended voice, the Itcush Method of the Mitzvah Technique, Grotowski and ceremonial performance. My class will (somehow attempt to) incorporate some/all of the above.

Deanna Peters/Mutable Subject creates for stage, club, screen, web and print. Recent projects include META, created and performed with Justine A. Chambers and Kim Sato, presented with The Dance Centre. Also in 2017, she created Dancers Playing Basketball presented with the Vancouver International Dance Festival and “solo” presented with the Dancing on the Edge Festival. Working both inside and outside current modes of dance presentation, Deanna is a hyper-active DIY producer who hosts shows, parties, residencies and workshops with/for fellow artists. For the past three years, she produces Interplay, a group show featuring multidisciplinary approaches to performance. She’s a member of Gold Saucer, an ad hoc group of artists who run rehearsal and venue spaces on unceded Musqueam, Squamish, Tsleil-Waututh territory (Vancouver). She’s also a part of 8 Days, an annual co-authored encounter for peer-to-peer research and development in dance and choreography. A dance teacher since she was 16 in her hometown on Treaty 6/Cree/Métis territory (Saskatoon), Deanna works with professional companies, pre-professional training programs, community organizations and public schools. Currently, Deanna’s developing projects which are mostly dance, and most often in collaboration with others, around freestyle house dance, web programming, plants, dancer ESP and other trippy perceptual phenomena. It’s all dance:

Alexa Mardon

Class Description: In this class we’ll practice staying with sensation; gentle, pleasant, intense, and the many places in between. Working with self-touch and imagery, we will encourage our flesh to be soft, supple and bouncy. As the class progresses, we’ll invite the floor to be our partner, practicing yielding, banking, falling, rebounding, and tossing, eventually learning set phrases as containers for inhabiting our fluid, ready, animal bodies. As a part of my ongoing investigation into documentation, the class will pay “obsessive attention to citation” (Amelia Ehrhardt), naming the people who’ve informed my class, culminating in a kind of bibliography that will be posted at the end of the week. I invite you to try dancing this class in bare feet, in order to feel the suppleness of your soles and to play with an interchange of hands/feet as ways of propelling us in and out of the floor.

Alexa Solveig Mardon is a dance artist raised in and working on the unceded territories of the Sḵwx̱wú7mesh, Musqueam and Tsleil-Waututh First Nations. Alexa's practice spans writing, performance, facilitation and community action. As a dancer, Alexa has interpreted the works of choreographers and companies including Deanna Peters, Action at a Distance, Rob Kitsos, the response. dance, Sasha Kleinplatz, Benjamin Kamino, Emmalena Fredriksson and Chick Snipper.

Alexa’s current collaborative work includes algorithmic mistakes with Brynn McNab, experimental lectures on the multiverse with Erika Mitsuhashi, a website about reading the world through a dance lens with Deanna Peters, a dance across borders with Raha Behnam, anti-fascist fundraisers with Rianne Svelnis, and a living record of Vancouver’s dance history with Justine A. Chambers and Peter Dickinson.

Ziyian Kwan / Dumb Instrument Dance

Ziyian Kwan has worked as a Vancouver based dance artist since 1988. As an interprète, she has performed close to 100 original creations by an eclectic range of choreographers, on international stages and in 2014, received the Isadora Award for her work as a performer. In 2013, Ziyian formed Dumb Instrument Dance, a collage of activities that comprise her creative life: commissions, unusual dance actions and choreography. With Dumb Instrument, Ziyian’s work has travelled to stages across Canada, with emphasis on collaborative creation with colleagues in the fields of dance, literature, music and visual art.

Ziyian is an infrequent teacher and a regular learner. As such, over the course of the last three decades, the teaching engagements she can remember include workshops at Montreal’s Studio 303 and in Vancouver at Working Class, Harbour Dance and what used to be Main Dance Studio. Numerous students at pre-professional learning institutions have sought her mentorship and she is one of Vancouver’s only certified teachers of The Itcush Method of The Mitzvah Technique.

‘ I am my heart’s dumb instrument ‘

*Photo credit: David Cooper