Joyda Parry: the Talent Trust's very first Dance Scholarship

Since 1957, the Talent Trust has given out 540 scholarships to gifted dancers who have gone on to develop their skills and build successful careers in performance and teaching. The very first dance scholarship recipient was Joyda Parry, a ballroom dancer who received the scholarship in 1957. Here is a snapshot into her exciting career.

In the November 1959 issue of Crowsnest Magazine, Joyda Parry's work as a ballroom dancer and instructor is highlighted: 

A large number of Shannon Park children, ages eight to 16, have been enrolled to study dancing under Joyda Parry. These dancing classes are designed for children who have never had any basic training in dancing. The director's aim is to teach, all the necessary fundamentals of ballroom dancing, with a special emphasis on social etiquette. The types of dancing include foxtrot, jive, waltz, folk and square dancing. At the end of the season, the pupils will present a recital for their parents and friends. 

Joyda Parry is an official examiner and member of the Canadian Dance Teachers' Association, a member of the Imperial Society (England), a member of the International Dance Masters' Association (England), and dance adjudicator, Official Board of Ballroom Dancing. She is a fully qualified teacher of ballroom, Latin American, and folk dancing, having studied in North America and abroad. 

Last year Mrs. Parry was chosen to represent Canada in world championship ballroom dancing in London, England. She has been seen many times as principal dancer on the Don Messer and other television shows.

She is also pictured in the September 1960 issue of Ballroom Dance Magazine when she and dance partner Basil Valvasori won first place in the Richardson Cup demonstration at the Star Bell in London.  They attended the Chicago National Association of Dance Masters Instructors' Conference which is described in this article, and gives a snapshot of what this training looked like in 1960: 

Scene was the very grand Grand Ballroom of the Sheraton Towers Hotel. From 9 in the morning until 10 at night, a floor full of teachers, from Washington State to Pennsylvania, from Canada to Mississippi, had themselves a great time studying a wide variety of material presented by a distinguished faculty.

During the preceding Training School and in the ensuing Convention there were other ball­room  classes, which added to the faculty list the names of Muriel Mills, Mrs. Theron Mandeville Woolson,  Louis Girard and James Lackey.

Among our hospitable guides were Adele Artinian, who was just winding up  two successful terms as CNADM President: Marie Buczkowski, the association's newly elected President; Edna Christensen,    Sec'y-Treas.; convention managers Don Ford & Jack Wolf­ ram; ballroom chairman Grace V.  Hansen: principal Elisa  Stigler; and, of course, this publication's  Midwest representative, Louise Ege.

Next summer the CNADM is expanding the popular Ballroom Workshop to two days. For the one-day  sessions in Chicago and regional meetings during the coming season, lots of ballroom is promised.

No more can be found Joyda Parry's career just yet, but the search continues! It is amazing to go back in time and get a peek into the artistic journeys of our early Talent Trust recipients!

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"Directing bodies in space to create my own story" - Minuet Charron

Minuet Charron is a dancer and choreographer who expresses her art with an array of styles from ballet to hip hop. She recently attended a Choreography Intensive and has graciously sent us an update to share her experiences there. For more about Minuet, visit her website or follow her on Instagram.

"In July, I spent ten days in Dayton, Ohio, at Regional Dance America’s National Choreography Intensive (NCI) as an emerging choreographer. This annual intensive is catered to the creative development and practice of emerging and established choreographers, while it offers a stream  for dancers to train and learn movement from the choreographers. I enjoyed lectures covering the foundations of music history and workshops in choreography and how to create and play with  movement. 

A great portion of the program was Pablo, director of music, teaching us about music and how  that relates to dance. I learned random history tidbits, a few musical terms that kind of sound funny to me (polyphony for one), and communal speculations of what it really means to be an  artist who creates art. 

Every day, we had a specific assignment, commonly associated with the musical era we had  covered that morning. Some days there were restrictions of the movement (e.g. only standing, only gesture phrases), others had specific goals (use of cannons, choosing a theme, partner work), and some gave us specific music pieces/genres to use. Afterward, we’d have about an  hour and a half with a new group of dancers each day to create. At the end of each day, the dancers showcased all the choreographers’ pieces and then we sat down with the directors to  speak about how the process went. 

I think one of the greatest elements of the intensive was that we were just there to play. And I don’t mean that in a lazy, not doing any work kind of way, I mean it in a curious, freeing, creative type of way! There was no weight of perfection on creations. They weren’t expected to be finished nor cleaned from top to bottom. The purpose was to try things and to experiment.  And it truly was a laboratory for us choreographers. Even when there was a dance I’d  choreographed that I thought happened to be lackluster or wasn’t anything like my other work, I still felt satisfied that I did something new … either out of my element, out of my comfort zone, or something I never thought that I would do myself. I think that’s super cool.  

There were twelve emerging choreographers (including myself) and I have never felt so connected to a group of humans in such a short amount of time. Many of them I felt as if I’d  known my whole life. Perhaps it had something to do with being in a room of like-minded  individuals, all very different people when you look at our personalities, likes and dislikes, but  our passion and our creativity is what brought us together. Not a moment was boring with my fellow choreographers; when we had spare time, we created random phrases, improvised for  hours, gave each other little improv tasks, and one day we made our own t-shirts just for the fun of it.  

Penny, the director of choreographer, highly encouraged us to come into each dance rehearsal  with little to no material pre-made. That was hard for me. Coming in, not unprepared, but not  already set in exactly what was going to happen in the studio. She spoke about choreographing and the magic of creation happening in the studio with the dancers, not just assigning the steps and counts you wrote in your notebook to them. It was about trusting your creativity and leadership skills, trusting that you knew what you were doing and didn’t have to rely on over preparation. And then, allowing the dancers to influence the movement. One thing Penny said  that specifically stuck with me was, “You’ve spent your entire life training to dance the way you do. You can’t expect someone else, who has been training their entire lives to dance the way they do, to be able to move like you.” Which is to say, utilize the dancers and their bodies, talents, and styles to your advantage … give them your vision and leadership, while allowing their own  interpretation. As a choreographer, I learned that it’s not about connecting steps together in an eight count but directing bodies in space to create my own story. And to trust my ability as a choreographer along with trusting my dancers’ abilities. 

I learned a lot from my peers. Which, I believe, is a unique experience. I feel special to have had such amazing dancers alongside me at the NCI. One of the most educational parts was conversing about our choreographic processes. I’ve never been in a room full of choreographers before, and I’ve always been so curious about how other people create. It’s truly something that cannot be taught. Sure, creativity can be practiced, honed, guided even. But I don’t think you can teach someone to be creative. It was interesting talking to others who struggled with aspects of  choreography I felt comfortable with and vice versa. And it was amazing to see the growth and  changes that occurred in each of us in only a week and a half.  

Overall, my experience heightened my interest in choreography, and solidified my heart’s need to create art – specifically in dance. A big thank you to NSTT for supporting my choreographic studies this summer!"

To see a video of Minuet's incredible choreography, click here!

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"Breathe" - A Collaboration of Poetry and Percussion

Composer and tubist Hope Salmonson is a gifted artist whose music is inspired by community and her connection to others.  Also a Talent Trust scholarship recipient, Hope's works have been performed by many groups on several stages, including the Ensemble Allure, the andPlay Duo, and the Mount Allison Elliott Chorale.  She recently participated in the 2022 LAMP Composition Academy where composers were challenged to write for an ensemble and a randomly selected poem from Michelle Sylliboy's "Kiskajeyi - I AM READY".  Hope talks about her experience: 

"When I was informed that I received "Breathe" and percussion, it struck me funny—coincidental that an ensemble that doesn't use breath would be paired with this text. I decided to incorporate breath into the piece itself by making group breathing a core part of the tempo and metre. In sections of the work, the percussionists will not follow a set tempo, but they will 

guide the music as they inhale and exhale. This, to me, was the way to do justice to Sylliboy's words in this context.

Michelle Sylliboy's poem "Breathe" can be found in her full collection, "Kiskajeyi - I AM READY" at bookstores and online. I heartily encourage any listeners and players to engage with her work; while this poem was my primary inspiration, I developed my compositional ideas in conversation with the full text and Michelle herself; the collaborative spirit is key to my experience of this music.

Many thanks to the Nova Scotia Talent Trust and the Bragg Women Music Opportunities Fund for supporting my journey to creating this music."

For more about Hope and her music, please visit her website. 

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Gina Burgess Album Release!

Congratulations to Gina Burgess who celebrated the release of her new album, "ISNOW" with a performance at the Local Halifax on July 21st!

Gina received Talent Trust scholarships in 1995, 1999, 2000, and 2007 for her incredible Violin music.  She is now an accomplished performer, crafter, yoga instructor and music teacher. She travels all over the world to perform, collaborate, and teach.  Gina has become a sought after soloist and educator across Canada and beyond. Together with the other members of "Gypsophilia", Gina is a 4-time ECMA winner and was also nominated for a Juno for her work with the Iqaluit-based band "The Jerry Cans". 

She has collaborated with many other groups and artists, including Kanye West, Maria Osende Flamenco Co., Shauntay Grant, Dinuk Wijeratne, Erin Costelo, Hey Rosetta!, Joseph Petric, the Nova Scotia Youth Orchestra, Rich Aucoin, Duane Andrews, NAFAS, Symphony Nova Scotia, Lily Frost, DJ Spooky and Alex Conde.

From Gina: "Without the Talent Trust's support when I was growing up in NS studying classical violin, I wouldn’t be doing what I am now. Ever grateful."

For more about Gina's music releases and performances, visit her website.

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Two must-see art shows before July ends!

The province has come alive with art shows, festivals and concerts, and it feels SO good!  There is so much to do and see, but there are two fantastic shows we want to highlight before they are over:

Making it Right - Ice House Gallery

Former Talent Trust scholarship recipient Brandt Eisener is the curator of  The Ice House Gallery in Grace Jollymore Arts Centre.  The Gallery is featuring the show "Making it Right" with works by Louise Pentz and Carole Morrow, with guest potter Karyn Hollasch.  This powerful show explores themes of social justice, capitalism, colonization, discrimination, hurt, healing, and forgiveness.  Each piece makes its own important statement.  

Also part of this show, the piece "Undercover" was created by Louise Pentz and Brandt Eisener and represents the pressure queer men face to hide parts of themselves, preventing them from expressing who they are with the world.  This show will take your breath away and make you look deep within to reflect on the themes explored.  See it before it is over, it ends July 24th!

Contrast to Connection - Tides Contemporary Art Gallery

Anna Syme, a recent Talent Trust scholarship recipient, is the featured Guest Artist at the Tides Contemporary Art Gallery.  Anna's work explores themes of connections, loss, understanding, and growth through interdisciplinary visual art pieces.  

Her current show, "Contrast to Connection" features her most recent art created through the lens of her own personal growth.  This growth was influenced by her year away from home and the resulting change in perspective.  Anna's work is incredible - each time you look at a piece, you will see something new.  This show runs until July 31st, see it while you can!

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"Sharing what I love with the world" - checking in with Maggie Oates-Johnson

Maggie Oates-Johnson won the Talent Trust Robert Jackson award in 2017 and has dazzled everyone ever since with her passion and drive for dance.  The Talent Trust scholarships Mollie has received each year since then
have helped her pursue her dreams at the Alberta Ballet School and develop her incredible talent.  We recently caught up with Maggie to see what she's been up to:

What is your earliest memory of dance?

The earliest memory of dance is when I was four years old, peeping in the studio door watching my sister’s ballet classes, while I am trying to do all the moves in the hallway in my little pink tutu.

What (or who) inspires you? 

What inspires me is seeing the strength and unique talent in each artist, and how they push through all their challenges to achieve their dreams and goals.

What is your greatest accomplishment to date? 

My greatest accomplishment is taking the risk in moving away from home, despite my fears, to pursue my dance dreams at a professional ballet school, and sticking with it even though it is sometimes scary and uncertain. I feel I am now thriving in my ballet school and this was absolutely the best choice for me in order to keep progressing with dance.

What is the most challenging aspect of your art?  What brings you the most joy?

The most challenging aspect of my art is not taking dance obstacles, critique, and rejections personally or defining myself based on them…but instead, using them to learn and grow, while also appreciating all other aspects of my life that make me who I am. The greatest joy with my art is the privilege and honour of performing on stage and sharing what I love with the world.

What is your biggest dream in pursuing your art?

My greatest dream in performing my art is to find my way into a professional dance company that is a good fit for me and where I feel fulfilled.

Thank you to Maggie for taking the time to update us.  We can't wait to see what the future holds for you!

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Heating up summer with "Smokey Sessions" featuring Breagh Isabel!

This month, Ski Cape Smokey in Cape Breton will be hosting a summer concert series called Smokey Sessions. The concert is scheduled for July 29 and is expected to be the biggest on-stage performance in Ingonish history.  The first of three concerts will have Gordie Sampson and Jimmy Rankin headlining the show, joined by former Talent Trust recipient and current Board Secretary, Breagh Isabel.

Breagh worked with Gordie Sampson at his songwriters' camp in Ingonish in her younger years.  In 2013, Breagh won the CNSLC Emerging Artist Scholarship for jazz piano.  She went on to collaborate with Classified to write and produce the hit "Good News", which was released in 2020 and nominated for 9 ECMA awards in 2021. 

Breagh's music has also made its way onto TV and film soundtracks, including Grey's Anatomy Season 17 Episode 11 which features "See the Sun", co-written with Hunnah and Peter Groenwald.  Her song "SOS", co-written with Margot Todd and Nini Camps can be heard on the Season 2 Premiere of Batwoman.

Her most recent hit single, "Girlfriends" was released in 2021 and won SOCAN's Songwriter of the Year Award in 2021 and Song of the Year at the ECMA's in 2022.  

To experience Breagh's wonderful talent, the concert series in Ingonish is not to be missed!  Get your tickets, enjoy a gondola ride up the mountain, enjoy the beautiful island view, and take in some amazing music by some of Cape Breton's most iconic songwriters.

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