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2010 ANNUAL GENERAL MEETING OF MEMBERS

Wednesday, June 9, 2010 5:30pm National Arts Centre

53 Elgin Street Ottawa, Ontario

______________________________________________________________________

55 Mill Street, suite 312, Case Goods Building, Toronto ON M5A 3C4

tel/tél : 416-515-8444, fax/téléc : 416-515-9444,

email/courriel : [email protected], website/site web : www.dancecanada.net

2010 ANNUAL GENERAL MEETING OF MEMBERS Wednesday June 9, 2010 5:30pm

National Arts Centre, 53 Elgin Street Ottawa, Ontario

ASSEMBLÉE GÉNÉRALE ANNUELLE DES MEMBRES 2010

mercredi le 9 juin 2010, 17 h 30 Centre national des Arts, 53 rue Elgin

Ottawa, Ontario

AGENDA / ORDRE DU JOUR

1. Welcome Bienvenue 2. Adoption of Agenda Adoption de l’ordre du jour 3. Adoption of 2009 AGM Minutes Adoption du procès-verbal des délibérations de l’AGM de 2009 4. President’s Report Rapport du président 5. Staff Report Rapport du personnel 6. Treasurer’s Report Rapport de de la trésorière 7. Report of the Advocacy Committee Rapport du comité de représentation 8. Nominating Report Rapport du mise en candidature 9. Other Business Divers

10. Open Forum Discussion ouverte

VISION STATEMENT

The Canadian Dance Assembly exists to facilitate the dynamic exchange of information relevant to Canadian

professional dance of all forms and aesthetics. We strive to cultivate a strong national voice for Canadian

professional dance and to support the development of resources for this field of artistic expression.

It is the members of the Canadian Dance Assembly, through their activities, experience and participation, who

provide the dynamism and the synergy that make the organization vital in the Canadian arts milieu.

We seek to achieve this dynamic state through various mechanisms, including advocacy and education, research

and development, communication and information exchange, and professional development initiatives. These

mechanisms ensure that the members of the Canadian Dance Assembly interact and communicate, propose ideas

and represent the organization.

MEMBERSHIP, STANDING COUNCILS AND GOVERNANCE

Membership

Regular Membership in the Canadian Dance Assembly is available to individuals and organizations involved in

activities related to the development and promotion of professional dance in Canada. This includes, but is not

limited to, dance companies, training organizations, dance service organizations, dance artists, teachers,

consultants, academics, researchers and journalists. Other individuals and organizations may join the CDA in the

Supporter Membership category.

Standing Councils

Regular Members will form Standing Councils, based on natural groupings within the dance milieu and/or their

particular interests. The following Standing Councils have been established: Ballet Companies, Dance Companies,

Dance Presenters, Service & Support, Independent Dance Artists, Training & Education / Research & Writing, and

Dance Consultants & Freelancers.

The CDA has begun activating the Standing Councils, by orchestrating and subsidizing a number of

teleconferences, online discussion forums and facilitated meetings. This will become an avenue for examining

common issues, sharing solutions, brainstorming possibilities, developing action plans, and establishing roles and

responsibilities for follow-up, thereby affecting the agendas and work-plans of the CDA.

Governance

A maximum of ten Standing Councils will be created, and they will each elect from among its ranks, one

representative to the National Council (Board of Directors). The National Council will have the authority to appoint

up to seven other members to the National Council to help balance sectoral representation, regional diversity,

cultural diversity, aboriginal representation, generation representation, and gender representation.

The National Council meets one or two times a year in person, and maintains ties through distance communication

tools (teleconferences and email). The Executive Council, elected by and from the ranks of the National Council,

guides the operations of the organization and oversees the work of senior management.

Canadian Dance Assembly National Council (2009-2010)

EXECUTIVE

PRESIDENT

Jim Smith (Vancouver, BC)

Chair: Dance Companies Standing Council

Producer, Eponymous

[email protected]

VICE-PRESIDENT

Michael Trent (Toronto, ON)

Artistic Director, Dancemakers

[email protected]

VICE-PRESIDENT

Gilles Savary (Montréal, QC)

General Director, Fortier Danse-Création Inc.

[email protected]

VICE-PRESIDENT

Mary Jane Warner (Toronto, ON)

Chair: Training and Education/ Research and

Writing Standing Council

TREASURER

Kathi Sundstrom (Calgary, AB)

General Manager, Decidedly Jazz Danceworks

[email protected]

SECRETARY

Harry Paterson (Calgary, AB)

Director of Operations, Production and Touring,

Alberta Ballet

[email protected]

EX-OFFICIO

PAST PRESIDENT

Richard Stoker (St. John’s, NL)

Manager, Programming & Promotions

Arts and Culture Centres

[email protected]

Chair, Dance Department, York University

[email protected]

DIRECTORS

Alain Dancyger (Montréal, QC)

Chair: Ballet Companies Standing Council Executive Director, Les Grands Ballet Canadiens

[email protected]

Barb Clausen (Vancouver, BC)

Chair: Dance Presenters Standing Council

Producer, DanceHouse

[email protected]

Chrystine Chambers (Halifax, NS)

Chair: Freelancers and Consultants Standing

Council

Program Officer, Strategic Arts Management

[email protected]

Dianne Milligan (Halifax, NS)

Chair: Service and Support Standing Council

Executive Director, DANS

[email protected]

Sasha Ivanochko (Toronto, ON)

Chair: Independent Artists Standing Council

Artistic Director, blackandblue dance projects

[email protected]

APPOINTED DIRECTORS

Michael Greyeyes (Toronto, ON)

Associate Professor, York University

Independent Choreographer, Director

[email protected]

Randy Joynt (Winnipeg, MB)

General Manager, Trip Dance Company

[email protected]

Lys Stevens (Montréal, QC)

Curator, Studio 303

[email protected]

mailto:[email protected]















NATIONAL COUNCIL 2009-2010

JAMES (JIM) SMITH

Following studies in music and commerce, Jim Smith began working in the professional Canadian dance sector in Montreal

at La La La Human Steps. Following a move to Vancouver, Jim co-founded Eponymous, an arts management and

production agency. Under the aegis of Eponymous, Jim is currently the Producer for Animals of Distinction, Compagnie

Vision Selective, Kidd Pivot, Lola Dance and Wen Wei Dance, and the Managing Producer of Vancouver New Music. In

2007, in association with Barb Clausen, Jim launched DanceHouse, a subscription series of large-scale contemporary dance

presentations at the Vancouver Playhouse. Jim has been on the board of the Canadian Dance Assembly since 2005. He has

also served on the boards of The Dance Centre and the Alliance for Arts and Culture and he regularly shares his expertise in

the performing arts, specifically dance, as both a consultant and a mentor.

MICHAEL TRENT

Michael Trent is the Artistic Director and Resident Choreographer of Toronto’s Dancemakers and the Centre for Creation,

one of Canada’s leading contemporary dance companies and a centre for research and development in new dance practices.

The organization’s creations, presenting and professional development projects are contemporary, cross-disciplinary and

collaborative in nature. In a career spanning over twenty years, Trent has garnered national recognition as a choreographer,

dancer and teacher. He is the co-recipient of the 2004 K.M. Hunter Award and was nominated for a 2006 Dora Award for

best performance in Louise Bédard’s Ce qu’il en reste. Trent’s repertoire of over 20 works has been seen in Toronto,

Ottawa, Montreal, Halifax and Vancouver. Prior to coming to Dancemakers, he was the founding Artistic Director of the

empty collective, a crucible for collaborative projects involving two or more media. A highly sought-after performer, Trent

has worked with some of Canada’s most respected creators including Louise Bédard, Sarah Chase, Sylvain Émard,

Christopher House, Sasha Ivanochko, Laurence Lemieux, Jean- Pierre Perreault, Dominique Porte and Julia Sasso and was

a member of The Toronto Dance Theatre for eight seasons.

GILLES SAVARY

A manager who rose from the community and co-operative milieu, Gilles has been working in dance for more than twenty

years. He was from 1987 to 1991, interim General Manager of O Vertigo before becoming the company’s tour manager,

and since Executive Manager for Fortier Danse-Création. His commitment to dance has enabled him to sit on various

Boards of dance organizations such as Diagramme Gestion culturelle (1992-1995), Circuit-Est centre choréographique

(since 2001), Le Regroupement québécois de la danse (1995-1999), L’Agora de la danse (1998-2005), La Danse sur les

routes du Québec (2000-2006) and Canadian Dance Assembly (since 2008). He has been a member of several advisory

committees for the Canada Council and the Conseil des arts et des lettres du Québec.

MARY JANE WARNER, Ph.D.

Mary Jane is a professor in the Dance Department at York University. She teaches courses in education, movement

analysis, history, and reconstruction. A specialist in Canadian dance, in 1996, she published Toronto Dance Teachers:

1825-1925. Her articles have appeared in Theatre History in Canada, Canadian Dance Studies, Canadian Theatre Review,

Journal of Dance Education and in numerous dictionaries and conference proceedings. She has published Canadian Dance:

Visions and Stories, co-edited with Selma Odom. Her current research focuses on documenting the work of several

Canadian choreographers through video and notation. She has a strong interest in dance education. She taught in the

Toronto school system early in her career. She developed the dance education courses for the Faculty of Education at York

University, and was a writer for the Ontario Curriculum documents for grades 9-12. She also developed the criteria for

Additional Qualification Courses for the Ontario College of Teachers. She was the local organizer for the World Dance

Alliance Global Assembly held at York University in July 2006.

KATHI SUNDSTROM Kathi attended Decidedly Jazz Danceworks premiere production, Body and Sole, in 1984 and became an instant supporter.

In 1989 Kathi joined the DJD Board of Directors and in 1992 became President of the Board. In 1993, Kathi made a

courageous career move when she left the for-profit world to become General Manager of DJD. The move offered Kathi a

myriad of new challenges along with a radical reduction in her annual income. She promised to work with the company for

two years, and now, over 16 years later, is still at the helm. She was the proud recipient of the 2005 Rozsa Award for

Excellence in Arts Management. Before coming to DJD, Kathi worked for 10 years for three different operating divisions

of TNT Express Worldwide in western Canada, in Sales, Management and as a Facilitator and Trainer in Total Quality

Management. Prior to that Kathi spent four years in Management in Western Canada for Mariposa Stores, where she

coordinated the openings of their first two stores in the United States. Kathi graduated from SAIT as a Business

Administration and Consumer Marketing Major and was listed on the President's Honour Roll. Kathi is presently Treasurer

of the Canadian Dance Alliance, was co chair of the Mayor’s Lunch for Business and the Arts in 1999 and 2000, and was a

member of the executive committee of the Calgary Professional Arts Alliance from 1994-2000.

HARRY PATERSON

Harry is currently the Director of Production and Touring for Alberta Ballet and has worked for the company since 1990.

During this time he has overseen the production and budgets of hundreds of ballets and has established various touring

opportunities worldwide for the Company. Harry came to Alberta Ballet from Montreal where he spent several years in

senior production positions at various organizations such as Société de la Place des Arts, National Theatre School, Les

Grands Ballets Canadiens de Montréal, and the National Film Board of Canada. Harry has also been stage manager for

several productions at the Delacorte Theater in New York, Stratford Festival and National Arts Centre. Born in London,

England, Harry began his career as a dancer/actor on stage as well as on screen with companies including BBC TV, BBC

Radio, Metro Goldwyn Mayer, Le Ballet du Rhin, L’ORTF in Paris, and Les Grands Ballets Canadiens de Montréal.

Harry’s professional career has taken him around the world to Asia, Europe, the Middle East, North America, and South

America.

ALAIN DANCYGER

A native of Limoges, France, Alain Dancyger studied violin at the Guildhall School of Music and Drama in London from

1977 to 1978. He then prepared his Masters in Music at Juilliard School in New York. In 1987 he obtained a Masters in

Business Administration from the École Supérieure des Sciences Économiques et Commerciales (E.S.S.E.C) in Paris. Mr.

Dancyger held different management and marketing positions for the Société Nationale des Chemins de Fer Français

(SNCF) in Paris and New York. He settled in Québec in 1991 to work at the Saidye Bronfman Centre for the Arts first as

Assistant Director. He was promoted Director in 1993 and held that position until 1996, when he was appointed Executive

Director of Les Grands Ballets Canadiens de Montréal. Since 1998, he has sat on the Regroupement Québécois de la Danse

(RQD) board, on the Canadian Arts Summit, on the DIA/DSA Advisory Board of Concordia University, on the Montréal

Holocaust Memorial Centre Museum « Wise Committee », and on the Canadian Dance Assembly (CDA) Advocacy

Committee. He was also elected Chair of the CDA Ballet Companies Standing Council. He acts regularly as a guest lecturer

in the HEC Arts Manager Program.

BARBARA CLAUSEN

Barb Clausen has been working in the arts community in Vancouver since 1980. Originally trained as a visual artist, she

later studied dance and has worked as a dance teacher, administrator, and programmer. Barb was one of the founders and

spent four years as the first Executive Director of the Dance Centre, and worked for three years as an Officer at the Canada

Council in Ottawa. In 1993 Barb founded New Works, which she led until May 2010. Barb is currently, in partnership

with Jim Smith, Producer of DanceHouse, Vancouver’s large-scale contemporary dance series presented at the Vancouver

Playhouse.

CHRYSTINE CHAMBERS

Chrystine Chambers is a Halifax-based arts administrator who currently holds positions with Strategic Arts Management,

Live Art Dance Productions and the CanDance Network. After completing an Honours B.A in Drama at the University of

Toronto, Chrystine went on to complete a post-graduate diploma in Arts Administration and Cultural Management at

Humber College. Previous work engagements include The Second City Toronto, The St. Lawrence Centre for the Arts and

Soulpepper Theatre. Chrystine spent two terms on the Board of Directors of the Bad Dog Theatre in Toronto and has spent

the past year on the CDA Advocacy Committee. A trained dancer, actor and improviser and now an arts administrator,

Chrystine hopes to bring passion and creativity to the world of policy and cultural management.

DIANNE MILLIGAN

After a few short years as a struggling actor and choreographer, Dianne Milligan discovered she was better at balancing

books then at balancés. She began her administrative career as Registrar for Halifax Dance and was company manager for

Nova Dance Theatre. Dianne has been Executive Director of Dance Nova Scotia since 1984, taking over from the

formidable Gunter Buchta. She has been active on the Board of several provincial and national organizations including

Dance in Canada, the Association of Cultural Executives and the Cultural Federations of Nova Scotia (President), as well as

on regional and provincial arts advisory committees and juries. She has authored and co-authored articles on dance, most

recently "Dance in Action: Six Nova Scotia Stories" for the Banff Centre Press book Right to Dance edited by Naomi

Jackson. Dianne is currently Chair of the Halifax-based Legacy Centre for the Performing Arts Association.

SASHA IVANOCHKO

Sasha Ivanochko is a Toronto based dance artist. With a career that spans 20 years, Miss Ivanochko has interpreted the

works of many of Canada’s major choreographic voices, including Tedd Robinson, Denise Fujiwara, James Kudelka and

Christopher House. A stellar dance smith in her own right, Ivanochko’s choreography has toured across Canada and to

Latin America and Japan. As Artistic Director of blackandblue dance projects, Ivanochko is an influential artistic presence

in the Toronto dance community, and she has taught many generations of dancers at several dance post secondary

institutions across the country. An empathetic and strong advocate for the rights and well being of the independent dance

artist, Ivanochko proudly served as Chair of the Canadian Alliance of Dance Artists, Ontario Chapter, from 2006-2009, and

is honoured to be CDA’s current Independent Artists Standing Council Chair.

MICHAEL GREYEYES

Michael Greyeyes is a choreographer, director and educator. His choreography has been seen across Canada and the United

States, both on stage and on television. His choreography includes The Threshing Floor, co-created with Santee Smith,

Untitled # 1535 for Dusk Dances, Triptych for Bravo Television, and Dance to the Berdashe, a 5 channel video installation

with Kent Monkman. In 2008, he directed and choreographed the first Cree opera, Pimooteewin (The Journey), with music

by Melissa Hui and libretto by Tomson Highway for Soundstreams Canada. Most recently, he directed Daniel David

Moses’ Almighty Voice and his Wife at Theatre Passe Muraille for Native Earth Performing Arts and was subsequently

performed at the inaugural Origins Festival of First Nations Theatre in London, UK. Most recently, he choreographed a 40

minute work, in collaboration with Rebecca Belmore entitled, Gone Indian, for the 2010 Scotiabank Nuit Blanche festival.

He is an Associate Professor in the theatre department at York University and is directing a short dance film entitled “Seven

Seconds,” to be premiered at the 2010 imagineNATIVE Film + Media Arts Festival in Toronto this fall.

RANDY JOYNT

Randy has been the General Manager of TRIP dance company since co-founding the organization with partner Karen

Kuzak in 1997. He holds a BA (Theatre/Dance) from the University of Winnipeg and is a graduate of the School of

Contemporary Dancers Senior Professional Program. For the past twenty years he enjoyed a career as a dancer with dance

companies in Winnipeg, Ottawa and Montreal while developing into a nationally recognized teacher of contemporary dance

technique. He is a former member of the Manitoba Arts Council’s advisory committee, has been a contributor to the Dance

Current, and has taught grant writing workshops for Arts and Cultural Industries Manitoba and the Dancer Transition

Resource Centre. Recently, Randy has also taken on the position of Executive Director at Artspace, a Winnipeg arts service

organization and cultural institution.

LYS STEVENS

Lys Stevens is a Montréal-based dance researcher, writer and administrator who holds a masters in dance studies from

UQAM on breaking as a street and stage dance form. Since 1999 she has worked for the contemporary dance and

interdisciplinary arts centre Studio 303 in various capacities, as curator, board member and Associate Director. She

authored their guidebook to dance production for emerging choreographers, now an online resource. She is a guest writer at

the Dance Current.

RICHARD STOKER

Richard is the Manager of Programming and Promotion for the Arts and Culture Centres in Newfoundland and Labrador.

He has been very active in a number of Boards and committees including the Canadian Arts Presenting Association, Debut

Atlantic Society, Atlantic Presenters Association, Dance Events Inc, and Contact East. He has been honoured with the

Contact East Professional Presenter Award, The National Arts Centre Award for Distinguished Contribution to Touring, the

CITT Professional Achievement Award, and as a SOCAN Patron of Music. Richard was the founding President of the

National Council of the Canadian Dance Assembly from 2002 to 2006, and has been Past President since 2006.

STAFF 2009-2010

AVIVA FLEISING – PROGRAMS AND SERVICES MANAGER

Simultaneously pursuing her love of dance and arts management, Aviva currently enjoys a position as Programs and

Services Manager with the Canadian Dance Assembly. She holds a Bachelor of Arts degree in Contemporary Dance from

the University of Calgary and a certificate in Arts and Cultural Management from Grant MacEwan College. Aviva

previously worked at the EPCOR CENTRE for the Performing Arts in Calgary as Marketing Coordinator and held

administrative positions in both the Montreal and Calgary Fringe Festival. She has studied, performed and lived in Asia,

North America, and Europe in pursuit of her own artistic voice and coordinated a variety of independent projects including

Alberta Dance Explosions, Calgary Fringe Festival, the Ignite Festival and the Montreal Fringe Festival.

SHANNON LITZENBERGER – ADVOCACY CONSULTANT

Shannon began working with the CDA in 2004, and since that time has shepherded the organization to the forefront of arts

advocacy leadership in Canada. As CDA’s Executive Director for five years, Shannon has contributed to shaping sector-

wide policy positions on behalf of the arts and culture community. She has been called on frequently by a variety of

different organizations and government agencies to provide consultation and to participate in committees and working

groups in the areas of dance and cultural policy. Representing the professional dance sector, Shannon is a founding

member of Canada’s Performing Arts Alliance (an alliance of the Canadian Dance Assembly, Orchestras Canada, Opera.ca,

the Professional Association of Canadian Theatre and CAPACOA). She is also a member of the Canadian Arts Coalition

Steering Committee – Canada’s largest ever group of artists, business leaders and volunteers assembled from across the

country. She continues to participate in these arts policy forums and others, now as the first-ever Metcalf Arts Policy

Fellow.

MICHAEL FREETHY – MEMBERSHIP & COMMUNICATIONS ASSISTANT

Despite not receiving any formal dance training himself, Michael has grown to love and appreciate the art form having been

raised in a household of four sibling dancers. He has a Bachelor of Arts Honours degree in Film Studies from Brock

University (St. Catharines)and a Master’s of Arts degree in Film Studies from Carleton University (Ottawa). Alongside his

passion for visual media, Michael pursues his interests in arts administration, communications, and the performing arts with

the CDA and also as the Marketing Assistant for the Richmond Hill Centre for the Performing Arts.

JUDY HARQUAIL – CONSULTANT

Judy has over twenty years of experience working in the performing arts. Her interests and expertise are in the areas of

organizational development, arts marketing and tour management. She works regularly with Opera Atelier, CCI (the

Ontario Network of Professional Presenters), and the Canadian Dance Assembly, and provides her expertise to a number of

other arts organizations on specific projects ranging from developing long-range touring plans to audience development and

research. Judy spent eight years developing and running For Dance and Opera, worked as the Dissemination Dance Officer

at the Canada Council for the Arts, and had an instrumental role in the creation of the dance program of support for

presenting, dissemination and residency activities. Judy is the 2007 recipient of the National Art Centre Award for

distinguished contribution to touring.

MEMBERS / MEMBRES

June 9 juin 2010

Newfoundland and Labrador /

Terre-Neuve et Labrador

Arts and Culture Centres

Kittiwake Dance Theatre

Neighbourhood Dance Works

Calla Lachance

Tammy Macleod

Prince Edward Island / Île-du-Prince-Édouard

Atlantic Presenter’s Association

Confederation Centre of the Arts

Shirley Burke

Heather Burke-Currie

Peggy Reddin

Nova Scotia / Nouvelle-Écosse

Dance Nova Scotia

Halifax Dance

Kinetic Studio Society

Live Art Productions

Mocean Dance

Strategic Arts Management

Jacinte Armstrong

Katherine Bourbonniere

Susanne Chui

Carolle Crooks

Kelly DeBouver Pearl

Melanie Ferro

Eileen Forrester

Sarah Gordon-Yanofsky

Emily Gore

Sara Harrigan

Sheilagh Hunt

Rebecca MacCulloch

Veronique MacKenzie

Maria Osende

Lisa Phinney

Barbara Richman

Jordan Sanford

Rebecka Smith

Elise Vanderborght

New Brunswick / Nouveau-Brunswick

Atlantic Ballet Theatre of Canada Inc.

Les Productions DansEncorps Inc.

Sylvie Mazerolle

Québec

Christiane Bélanger-Danse

Circuit - Est

Compagnie de Danse Sursaut

Compagnie Marie Chouinard

Fortier Danse-Creation

La Rotonde Centre Choreographique Contemporain de Quebec

Le Ballet de Québec

Le Centre Uriel

L'ecole de danse contemporaine- LADMMI

Les Grands Ballets Canadiens de Montréal

Studio 303

Christiane Bélanger

Sylvain Bleau

Dena Davida

Eryn Dace Trudell

Ontario

10 Gates Dancing Inc.

CADA ON / Canadian Alliance of Dance Artists

(Ontario chapter)

Canada Dance Festival

Canada's National Ballet School

Canadian Actors' Equity Association

Canadian Children’s Dance Theatre (CCDT) / Tilt Sound

and Motion

CanAsian Dance Festival

CanDance / CanDanse

COBA Collective of Black Artists

Coleman Lemieux & Co.

CORPUS Dance Projects

Dance Collection Danse

Dance Department, York University

Ontario cont.

Dance Ontario Association

Dance Our Way Home

Dance Umbrella of Ontario / DUO

Dancemakers

Dancer Transition Resource Centre / DTRC

Danny Grossman Dance Company

Esmeralda Enrique Spanish Dance Company

Fujiwara Dance Inventions

Integrated Dance Artists Collective / IDAC

Janak Khendry Dance Company

Korean Dance Studies Society of Canada

Little Pear Garden Collective

Menaka Thakkar Dance Company

Motus O Dance Theatre

National Arts Centre - Dance Department

National Ballet of Canada

Peggy Baker Dance Projects

Peterborough New Dance

Princess Productions

Sampradaya Dance Creations

Society for Canadian Dance Studies (Visus Foundation)

The Dance Current

The School of Toronto Dance Theatre

Toronto Dance Theatre / TDT

Tribal Crackling Wind

Victoria Ballet Academy

Robert Abubo

Meryem Alaoui

Kate Alton

Erin Amadio

Carol Anderson

Megan Andrews

Sarah Anthony

Norma Araiza

Peggy Baker

Natasha Bakht

Nova Bhattacharya

Laura Bolender

Sylvie Bouchard

Susan Bowden

Amy Bowring

Tom Brouillette

Susie Burpee

Michael Caldwell

Yves Candau

Dawne Carleton

Annie Cassar

Man-Bun Chan

Marie-Josée Chartier

Martin Chemagne

Peter Chin

Penny Chivas

Sandra Clarke

Alexandra Contreras

Kate Cornell

Erin Cowan

Chad Craig

Jennifer Dahl

Jesse Dell

Michelle Dennis Mitchell

Andrea deZeijzer

Jennifer Dick

Leanne Dixon

Brittany Duggan

Amelia Ehrhard

Megan English

Esmeralda Enrique

Cheryl A. Ewing

Eden Fieldstone

Mairéad Filgate

Marie France Forcier

Kate Franklin

Natasha Frid

Denise Fujiwara

Jasmyn Fyffe

Anne-Marie Gaston

Kelly Goodine

Jenn Goodwin

Rose Gowling

Alicia Grant

Julie Grant

Michael Greyeyes

Fiona Griffiths

Diana Groenendijk

Kristen Gula

Heather Hammond

Amy Hampton

Judy Harquail

Jocelyn Harvey

Christine Heath

Syreeta Hector

Ame Henderson

Maxine Heppner

Shelly Hering

Kate Holden

Susanna Hood

Michele Hopkins

Jaimee Horn

Julye Huggins

Kendra Hughes

Kathleen Hughes

Jen-Yi Hum

Kerri-Ann Hutton

Sasha Ivanochko

Molly Johnson

Pam Johnson

Allen Kaeja

Karen Kaeja

Debra Kapp

Aliki Kavouras

Susan Kendal

Kristy Kennedy

Vanessa Kimmons

Ontario cont.

Keiko Kitano

Elizabeth Kmiec

Sanford Kong

Donna Krasnow

Louis Laberge-Côté

Slade Lander

Emily Law

Susan Lee

Suzanne Liska

Andrea Lithgow

Shannon Litzenberger

Sarah Lochhead

Susan Macpherson

Ruth Madden

Monica Man

Mariana Medellin-Meinke

Rebecca Mendoza

Anisa Misaljevic

Sameena Mitta

Claudia Moore

Vivian Moore

Sahara Morimoto

Mary – Jo Mullins

Angola Murdoch

Liisa Murray

Hannah Naiman

Kate Nankervis

Andrea Nann

John Newton

Yvonne Ng

Caroline Niklas-Gordon

Tracey Norman

Zita Nyarady

Lina Nykwist

Selma Odom

Kennetha O'Heany

Meagan O'Shea

Lata Pada

Barbara Pallomina

Solange Paquette

Joan Phillips

Emily Poirier

Sara Porter

Ofilio Prtillo

Krista Posyniak

Meredith Potter

Andrea Roberts

Matthew Romantini

Emma Lu Romerein

Laura Ross

Jessica Runge

Lucy Rupert

Heather Saum

Chantal Saxe

Vivine Scarlett

Barbara Sellers-Young

Rina Singha

Debbie Slade

Kristen Sopik

Barbara J. Soren

Cara Spooner

Brodie Stevenson

Karen Stewart

Erika-Leigh Stirton

Heidi Strauss

Menaka Thakkar

Meredith Thompson

Holly Treddenick

Robert Turner

Claire Turner Reid

Andrea Vagianos

Apolonia Velasquez

Catrina Von Radecki

Matt Waldie

Julie Wang

Mary Jane Warner

Timea Wharton

Jessica Whitford

Phyllis Whyte

Tanya Williams

Dave Wilson

Claudia Wittmann

Claire Wootten

Cindy Yip

William Yong

Manitoba

Canada's Royal Winnipeg Ballet

Dance Manitoba Inc.

Trip Dance Company

Winnipeg's Contemporary Dancers

Maritel Centurion

Stephanie Ballard

Faye Thomsontte

Saskatchewan

Dance Saskatchewan

New Dance Horizons

Charlene Bosiak

Carolyn Bray

Ann Kipling Brown

Heather Currie

Paige Currie

Pat Gebel-Yablonski

Sarah Makins

Heather Ritenburg

Linea Ruszkowski

Hazel-Ann Stark

Michelle Weimer

Alberta

Alberta Ballet

Alberta Dance Alliance

Alberta Dance Theatre for Young People

Blue Collar Dance Company

Dancers' Studio West

Decidedly Jazz Danceworks / DJD

M-Body: Mind and Music in Motion

Mile Zero Dance

Program of Dance- University of Calgary

Springboard Dance

Three Left Feet Movement Creations

Vinok Worldance

W&M Dance Projects of Calgary Association

Mackenzie Alcorn

Tara Blue

Naomi Brand

Heidi Bunting

Helen Husak

Trina Jones

Leanne Kidd

Toni Shenfield

Rosanna Terracciano

Brian Webb

Tanya Yacyshayn

British Columbia / Colombie-Britannique

Anatomica

Ballet Kelowna

Ballet Victoria Society

Battery Opera Performing Arts Society

CADA BC / Canadian Alliance of Dance Artists (BC chapter)

DanceHouse

Dancers Dancing

Eponymous

Joe Ink Performance Society

Karen Jamieson Dance

Kidd Pivot Performing Arts Society

Kinesis Dance Society

Left Right Minds

Made in BC - Dance on Tour

Marta Marta Hop Society

Mascall Dance Society

New Works

Pro Arte Performing Arts In Motion

Raven Spirit Dance Society

Tara Cheyenne Performance

The Dance Centre

The Holy Body Tattoo Society

Wen Wei Dance

Conrad Alexandrowicz

Daina Ashbee

Sarah Ballard

Lara Barclay

Nicolette Bauman

Brandy Boybutt

Andrea Baune

Melissa Beattie

Marissa Biron

Jennifer Bishop

Barbara Bourget

Fran Brafman

Sarah Brewer Clowes

Caitlin Brown

Angela Brown

Cristina Brown

Julia Carr

Justine Chambers

Carolyn Chan

Julianne Chapple

Yvonne Chartrand

Sara Coffin

Jennifer Cole

Miriam Colvin

Anne Cooper

Kathryn Crawford

Henry Daniel

Danaea Davies

Alison Denham

Jason Dubois

Douglas Durand

Susan Elliott

Carolyn Farquhar

Kiri Figueiredo

Alexis Fletcher

Maggie Forgeron

Claire French

Judith Garay

Danielle Gardner

Lisa Gelley

James Gnam

Meghan Goodman

Samantha Jane Gray

Margaret Grenier

Caitlin Griffin

Andrea Gunnlaugson

Daelik Hackenbrook

Kristen Harris

Katy Harris-McLeod

Tera Hawes

Day Helesic

Jay Hirabayashi

Stacey Horton

Susan Kania

Andrea Karogiannis

Edmond Kilpatrick

Julie Lebel

Debbie Lee

Natalie Lefebvre-Gnam

Adrienne Leggett

Delphine Leroux

Caroline Liffmann

Leslie Lindenberg

Jacqueline Lopez

Judith Marcuse

Tanya Marquardt

Josh Martin

Jennifer Mascall

Espirito Santo Mauricio

Molly McDermott

Kathleen McDonagh

Emily Molnar

Billie Murphey

Connie Myers

Leslie Nandon

Kara Nolte

Jane Osborne

Alisoun Payne

Kaija Pepper

Stephanie Pintar

Tanya Podlozniuk

Roxoliana Prus

Donna Redlick

Justin Reist

Candice Roberts

Sara Russell

Keely Sills

Cara Siu

Siobhan Sloane-Seale

Manuel Sorge

Brianna Stark

Peter Starr

Emily Statler

Kimberley Stevenson

Grant Strate

Julia Taffe

Daisy Tahani

Lexi Vajda

Leigha Wald

Helen Walkley

Wen Wei Wang

Tobie Wick

Leah Wickes

Charlie Wilson

Nevada Yates Robart

Julia Zennstrom

International

Dance USA (Washington, D.C.)

Anne Dunning (New York)

CDA Annual General Meeting of Members Wednesday, September 25

th, 2009, 4:00pm – 5:00pm

The School of Toronto Dance Theatre, Toronto, Ontario

1. CALL TO ORDER / WELCOME

Jim Smith calls the meeting to order at 4:12pm

Smith welcomes members and introduces the speakers, Michael Trent, Shannon Litzenberger, and Kathi

Sundstrom

Smith explains that this year CDA is offering a new technology in light that we are a National organization

and wish to reach members across the country. The proceeding will be web-casted so that members can

tune in online. The people in the room will be counted as registered voters; however the online listeners

will not be able to submit votes.

Trent reports that the CDA has 39 registered voting members present either in person or by proxy at this

AGM out of a potential 349 members, which constitutes quota. Notice was duly given 21 days prior to the

meeting, and this constitutes a valid meeting of the members.

There will be a slight amendment to the agenda in the order of reports presented. The Executive Director’s

Report will follow the President’s Report. The new order will be: President’s Report, Executive Director

Report, Treasurer’s Report, Advocacy Report, Nominating Report.

2. AGENDA

Motion to accept agenda with the amendment to the order of reports . Barb Clausen. Seconded by Mimi Beck. All

in favour; motion carried.

3. ADOPTION OF 2008 AGM MINUTES

Motion to approve minutes from 2008 AGM. Michael Trent. Seconded by Laurence Lemieux. All in favour; motion

carried.

4. PRESIDENT’S REPORT

Smith delivers the President’s report.

The organization has seen much growth over the past year, in membership, financial development,

organizational stability and advocacy impact. We have accomplished a lot as an organization.

While we have much to celebrate, we should also give pause and consider how much we still need to do as

a community. Working collectively and finding a common understanding of how to work together, despite

our various differences. This will allow for equity and appreciation and a healthy exchange of ideas.

Staff, the National Council, the Executive committee as well as consultant Judy Harquail are recognized for

their ongoing commitment to the organization.

National Council members Laurence Lemieux and Barbara Richman are also recognized for their time,

effort and dedication to CDA they are thanked for their work as they will be leaving the National Council.

Closes with a special recognition to Shannon Litzenberger, the organization has greatly benefited from her

contribution. She has worked for CDA since 2004 and quickly grew to the position of Executive Director

and brought the organization with her. [applause]

Motion to accept the President’s report as tabled. Michael Trent. Seconded by Fionna Griffiths. All in favour;

motion carried.

5. EXECUTIVE DIRECTOR’S REPORT

Litzenberger presents the Executive Director’s report.

Reflecting on her time spent at CDA, Litzenberger comments that she is proud of what we have

accomplished as a community thus far and looks forward to seeing how CDA will continue to grow and

become a leader on the advocacy front. Litzenberger stresses the importance of contributing actively and

often to advocacy work so that we may all enjoy a better future.

National Council members are thanked as well as past and present staff, consultant Judy Harquail,

volunteers, and working colleagues. A special recognition to Jim Smith who has been an exceptional

leader to the organization and a leader in the dance community. CDA has greatly benefited from his

stewardship. [applause]

Brian Webb – Wishes to recognize Shannon for all she has done and how it has had an impact inside our

community. [applause]

Motion to accept the Executive Director’s Report as tabled. Elizabeth Chitty; seconded by Lata Pada. All in

favour. Motion carried.

6. TREASURER’S REPORT

Kathi Sundstrom delivers the Treasurer’s report, this is Kathi’s 3rd

year as Treasurer.

Total operating budget is $188,382 and expenses totaling $186,496 leaving a modest surplus of $1,866

The majority of increase of budgets was due to some grants received for special projects.

Kathi thanks Shannon for all her work on the finance end and to Judy Harquail, accountant David Mayhew

and auditors Francis & McKinney.

Motion to accept the Treasurer’s Report as tabled. Kathi Sundstrom; seconded by Richard Stoker. All in favour.

Motion carried.

7. AUDITED STATEMENTS

Sundstrom presents the 2008/2009 Audited Statements as tabled.

Mimi Beck recognizes a typo in section (g) Notes to the Financial Statements.

Motion to accept the Audited Financial Statements as tabled. Barbara Richman; seconded by Mary Jane Warner.

All in favour. Motion carried.

Motion to all the National Council be given authority to be able to appoint auditors for the 2010 financial

statements. Kathi Sundstrom; seconded by Amy Bowring. All in favour. Motion carried.

8. REPORT OF THE ADVOCACY COMMITTEE

Smith delivers the advocacy committee report, this committee is co-chaired by Randy Joynt and Jim Smith

The committee meets regularly and provides consultation on CDA advocacy activities. CDA’s work is

taken on in collaboration with other organizations such as the Canadian Conference for the Arts (CCA), the

Canadian Arts Coalition (CAC) and the Performing Arts Alliance (PAA).

Smith lists the members of the committee and thanks those members for their hard work.

Members of the CDA are thanked for the role they play in helping to get the message out on advocacy

work.

Elizabeth Chitty – Has there been consideration to the development of support EI reform given the amount of

artists that are self-employed.

Litzenberger – This is an issue that has come up which crosses a lot of sectors. CDA is not taking it on as a

primary advocacy message at this time as there are other more influential advocates out there pushing this issue.

Brian Webb – From reading the newsletters we are aware of the amount of advocacy work that is being done. Are

there any meetings with members from other parties that take place, besides the Conservatives?

Litzenberger – Yes, CDA is pursuing meetings with other parties. We are working with Pablo Rodriguez and also

Charlie Angus. This work has impact - for example, recently, NDP MP Paul Dewar invited other MPs to form a new

all-party arts caucus.

Lata Pada – Given the BC cuts to funding, does CDA get involved? Have we played a role in the advocacy efforts?

Litzenberger – This subject was recently brought about in the latest advocacy meeting. CDA has taken some

action. Prior to the budget, we submitted a letter with the PAA articulating the impact of those proposed cuts. We

do want to work in partnership with regional organizations when they request our assistance, according to our

resources. Letter campaigns and distributing information to our membership are things we can do. Assessment

takes place on a case by case basis. It is an ongoing conversation. We tend to become involved in Ontario based

issues because we receive funding from the province.

Amy Bowring – I as a member support that kind of work to help our regional organizations. It effects everyone

nationally.

Jim Smith – There is a need for CDA to be a non-partisan organization. The issue of provincial vs. federal also

comes down to where we focus those resources. It also becomes a jurisdictional issue, letters coming from

elsewhere in Canada to BC may not have weight because it does not impact voter prospective.

Motion to accept the Advocacy Report as tabled. Lys Stevens; seconded by Mary Jane Warner. All in favour.

Motion carried.

9. REPORT OF THE NOMINATING COMMITTEE

Trent delivers the Nominating Committee report on behalf of Barbara Richman. This is Barbara’s last

report for committees and she is thanked for her years of service to the CDA board. The list of committee

members is read.

A brief explanation of how new members are elected is given.

The slate for 2009-2010 is announced.

Officers of the National Council will be selected at the next National Council meeting.

A thank you goes out to departing members Laurence Lemieux who has played a valuable role at CDA.

Also to Barbara Richman who has completed the maximum 6 years of service and played an incredible role

in founding the organization and chairing the HR committee. [applause]

Motion to accept the nominating report as tabled. Sasha Ivanochko; seconded by Andrea Vagianos. All in favour.

Motion carried.

10. OTHER BUSINESS

Barbara Clausen takes the opportunity to make special mention of member Lola MacLaughlin

choreographer of Lola Dance who passed away in March

Michael Trent also takes notice of the closing the doors of Le Groupe Dance Lab which is a sad occurrence

in our Canadian dance ecology

11. OPEN FORUM

Smith opens the floor for discussion. The microphone is passed around the room so online listeners can hear

comments and questions.

Brian Webb – When the Canada Dance Festival held its conference and celebration of diversity we were

encouraged to get buy-in from other leaders in the dance community. Is CDA committed to go forward with the

ideas and directions that have come out of the conference?

Shannon Litzenberger – Thank you Brian, we enjoyed the forum. There were a lot of discussions and a lot of

strong ideas that arose as well potential policy directions. CDA is committed to supporting those conversations

going forward. We need to come to some sort of consensus in terms of messaging. The continued discussions will

start with the Dance Centre’s Dance in Vancouver event. The organization is looking at how we can play a role and

be supportive within our means.

Jeff Melonson – Reflecting on the BC government cuts we have to be careful moving forward. The government

will be in a different spending atmosphere two to three years down the road. There may be more cuts on the way.

Elizabeth Chitty – I would like to stress the importance of the National Training Subsidy program which was first

mentioned in the 2008 meeting. Quebec enjoys a higher level of subsidy while other organizations have no access

to subsidy. It has been identified as an important project for individuals. Action needs to be taken soon.

Shannon Litzenberger – Yes we agree and see the importance as well. It is a very valued service in the national

community and we would increase capacity by nationalizing it. CDA is applying for support through the Flying

Squad to conduct research. Barbara Richman will be taking a role in the fall to look at the best way of implementing

this.

Fionna Griffiths – I just spent time in London, England and they just experienced cuts. There was discussion about

what London would be like in a day without any arts. They were talks about taking a one week strike, no arts no

museums etc. Funds were found quickly after that discussion took place. In relation to BC, we are not alone,

London was hit as well.

Lata Pada – Following up on Fiona’s comments regarding BC and London. Arts funding is not being affected by

extraordinary projects like the Olympics, money is simply shifted around.

Richard Stoker – I would like to announce that as of last Sunday a steering committee has been designed to create

Dance Newfoundland. The volunteer committee has been tasked to put the organizational structure in place over the

next year. They will become a member of the CDA once it is formed. [applause]

12. ADJOURNMENT OF MEETING

Motion to adjourn the 2009 Annual General Meeting. Mimi Beck; Seconded by Fionna Griffiths. All in

favour. Motion carried.

Meeting is adjourned at 5:15pm EST

2010 Annual General Meeting of Members

June 9, 2010 Ottawa Ontario

PRESIDENT’S REPORT

This will be my last report to the membership of the Canadian Dance Assembly as President.

In the various reports we will review today, reflecting on the 2009-2010 year of activity, we will see it was a time of

transition for our association, specifically as we undertook the search for a new Executive Director. However it was also a

time of engaging with our membership through communication, advocacy and research activities, membership

development, taking stock of our progress as an organization and preparing for the future.

During the fall of 2009 the CDA underwent a strategic planning process that allowed us to clarify our goals, assess and face

our challenges, and most importantly, force us to identify our priorities. Given the vast range and diversity reflected in

CDA’s membership, and the ever-changing environment in which our membership exists, this is always a complex

undertaking. I would like to thank Barbara Richman for her exceptional abilities in facilitating this process. If you have not

had the opportunity to review the strategic planning report that was completed in the course of this past year, I encourage

you to do so. It is an excellent and comprehensive document and in it you will find our road map to our future.

On the membership front, the organization continued to work at developing and expanding the membership both to unite

and support the national professional dance community and to enable the organization to truly reflect the community. 2009

saw the formalizing of a joint membership relationship with Canadian Alliance of Dance Artists (CADA) – BC Chapter,

similar to the one created with CADA – Ontario Chapter in the previous year. Additionally, the organization formally

presented itself for the first time to the Quebec dance community.

In terms of advocacy, the CDA continued to expand its reach and influence into the cultural and arts realm by further

developing partnerships and associations with like-minded organizations. The CDA has played a central role in the

reassembling of the Canadian Arts Coalition along with its partners in the Performing Arts Alliance. The short-term goals

of the coalition will include two specific asks that coalition members will advocate to all parties: 1) increase the annual

budget of the Canada Council for the Arts to $300 million; and 2) invest in a new market access and development fund – an

investment measure aimed, in part, at replacing cut programs that supported international touring.

The Advocacy Committee regularly met during the course of the year and I would like to thank committee co-chairs Alain

Dancyger and Randy Joint and all of the members of their committee for their effort and commitment to informing and

directing the organization’s advocacy efforts.

In the past year the CDA secured financial support to undertake research on training needs, and subsidies to assist with

training, which have been identified as pressing issues in the national dance community. The research initiative is designed

to explore needs and develop realistic national strategies to address these issues. We look forward to findings in the current

year.

I am pleased to report the 2010 audited financial statements once again find the CDA on positive financial footing. I would

like to thank Treasurer Kathi Sundstrom for her attentiveness and prudence to the association’s finances.

As stated above, 2009-10 year has been a time of transition for our organization. CDA has been heavily invested in the

search for a new Executive Director and as a consequence, it was a truly exceptional time.

Following two postings for the position (in November and then March), and two rounds of interviews, I am pleased to

report that a new Executive Director has been identified for the CDA.

I would like to take this opportunity to personally thank the members that joined me on the Search Committee, namely

Nova Bhattacharya, Judy Harquail, Gilles Savary, Lys Stevens, Michael Trent and Mary Jane Warner. Our collective task

was never an easy one. However, I believe we worked very diligently and effectively on behalf of the membership and I

thank each of you for your dedication, rigour and good humour.

I would like to take this opportunity to recognize and thank our excellent staff. Thanks to Aviva Fleising who has served

the organization well during this time of transition and risen to the occasion of having to pinch hit and I would also like to

welcome and thank Mike Freethy who joined the CDA staff this past year. Thanks also to Shannon Litzenberger who has

maintained the staff function on the advocacy portfolio for the organization and continued to do an exceptional job in this

regard. I extend a deep heart felt thanks to Judy Harquail who has continued to keep the National Council and Executive

Committee on track in the absence of an Executive Director.

To my fellow National Council members who volunteered their time, effort, generosity and expertise to guide the

organization during a particularly challenging time I thank you. I would like to make special mention of Harry Patterson,

Gilles Savary, Kathi Sundstrom, Michael Trent and Mary Jane Warner who served with me on the Executive Committee.

To the membership of the Canadian Dance Assembly, I thank you for the opportunity to have been President for these past

four years. It has truly been both an honour and pleasure to get to know many of you as a result of this association and to

have worked with you in bringing positive change on the larger issues that affect us all in the Canadian professional dance

community.

Respectfully submitted,

Jim Smith

President


June 9, 2010 Ottawa, Ontario

STAFF REPORT CDA membership exceeded 450 members this year, a 31% growth from 2008-09. CDA’s strategic membership partnerships with CADA-ON (formed in 2008), and CADA-BC (2009) have accounted for much of this growth, and these alliances have proven to be mutually beneficial for the organizations and our shared membership. To remain sensitive to our members’ financial needs during challenging economic times, CDA has sustained membership fee levels for the fourth consecutive year. This effort has, in part, contributed to exceptionally high membership retention rates. With the goal of providing improved connectivity between CDA, its services, and its members, CDA has begun the process of re-developing its website which is expected to launch prior to the National Conference in September 2010. This new and improved site will have a user-friendly interface connecting members using social media tools, offer an increased amount of resources, publications and news items and host a more sophisticated dance directory to better promote our members. CDA also continued to work on the collaborative project of creating a national web-based dance ‘portal’ together with Dance Current magazine, the Dance Umbrella of Ontario and Dance Ontario. We anticipate that this portal will serve our members and the art form by providing a central point of connection to dance for the public. With the support of the Ontario Arts Council, technology consultants Ella Cooper and Sean Howard were contracted this past year to explore a variety of models and options for this project.

In addition to improving our online presence, CDA has aimed to improve the personal connectivity of our members and potential members by connecting in person at regional activities. Last summer, CDA co-hosted a session on the ‘State of Dance in Canada’ at the Festival of New Dance in St. John’s and also partnered in the Canada Dance Festival’s presentation of “Dancing Through Cultures to a Space of Mutuality” in Ottawa. In the fall, CDA National Council members led a session on dance presentation at the CAPACOA conference in Calgary and staff also attended the Dance In Vancouver festival connecting with membership in the West. As well, a series of meetings with key individuals were held during the Festival TransAmerique (FTA) in Montreal in efforts to continue to build membership in Quebec. In light of transition at the Executive Director level, regional programming in the Prairie region was postponed. Financial constraints continue to limit our ability to fully take on this activity and until we can better address this area of activity, CDA’s National Council and Advocacy Committee members have acted as CDA representatives at local events when staff cannot be present. CDA staff had the opportunity to attend the Tanzkongress in Hamburg, Germany in 2009 to meet with representatives of other national dance service organizations from around the world. Meetings with the international delegation at this event provided an exceptional opportunity to share best practices, and exchange ideas on membership services, programming, research and advocacy. CDA’s advocacy work in particular was viewed by international colleagues as very effective and many were keen to replicate Canadian models in this regard. CDA, equally, was able to draw upon expertise from other organization representatives. Last year, CDA’s National Council agreed to focus on regional programming partnerships in one year and work towards a larger national event in 2010-11. To help our members stay connected to our work, CDA hosted a community reception following its 2009 AGM, which for the first time, was audio-cast live online. Following the AGM, staff and National Council members engaged in a strategic planning process with Barbara Richman, independent Arts Consultant and former National Council member. The CDA entered a new phase of planning in the 2009/2010 year. The strategic priorities and objectives outlined in this plan focus on supporting the continued growth and well-being of the national dance community. Following Standing Council meetings at the last National Conference in 2008 there was an interest to explore the potential of nationalizing a training subsidy program. Funding was secured this past year to undertake a national study of current training needs and explore the potential of a national training subsidy program. Findings will be released in the coming year.

CDA continues to coordinate a national release surrounding International Dance Day; this day received a large amount of press coverage in 2009. Every year a message is authored by a well-known dance personality and is circulated across the country. The message for 2009 was written Nico Archambault, winner of the inaugural season of So You Think You Can Dance Canada. I am continuously amazed and inspired by the dedication and commitment from the staff and volunteer leaders from the National Council. As a service-based organization, CDA’s capacity and effectiveness relies heavily on its staff and the many volunteer leaders from the National Council and the membership who contribute their time and talent to CDA committees and working groups. This year CDA hired Mike Freethy two days per week who has been a tremendous help with our membership and communications activities. He has been a wonderful asset to the team. The organization underwent a period of staff transition following the departure of Shannon Litzenberger, Executive Director. Shannon has remained on contract to manage the organization’s advocacy activities, and ensure continuity in this time of transition. I would like to thank her for her mentorship over the past two years that I’ve been with the organization as the Programs and Services Manager. She has been an excellent example of a young leader and I look forward to continuing to work along side her as she pursues a career in the professional dance sector. I would also like to extend my sincere thanks to Judy Harquail, who has been my advisor in this period of transition and has provided me with much guidance and insight in managing the organization. As we enter 2010-2011, I look forward to continuing to grow with the organization as it enters its next phase of development under a new Executive Director. I would also like to thank past and present National Council members and the working committee members. As well, our service providers and working partners, web-master George Wolf, translator Lilian Kapp, Megan Andrews and our colleagues at The Dance Current magazine; you continue to make unique and valuable contributions to the organization . Finally, I would like to extend a special thank you to our departing President Jim Smith, who has been an inspiring leader over the past 5 years and whose commitment to the organization and to the dance sector as a whole has continued to propel CDA forward. Respectfully submitted,

Aviva Fleising Programs and Services Manager


June 9, 2010, Ottawa Ontario

TREASURER'S REPORT

CDA's operating results for the fiscal year ending March 31, 2010 exceeded budget Overall results for the year are:

Cash Flow management is challenging for the organization in January - March due to the cyclical nature of revenue streams. The organization continues to concentrate on increasing revenues from membership to grow the organization. Revenue Analysis

Below you will see a comparison of revenues from 2008/09 and 2009/10, and results vs. budget for 2009/10

*GRANTS continue to represent the largest contributor of revenues at 72% Canada Council for the Arts - Our operating grant increased to $87,000 from $75,000 Ontario Arts Council - Our operating grant was stable at $29,000 Canadian Heritage - No grants this year *MEMBERSHIP -The most important area for potential revenue grow. Actual revenues from membership was up by $4,039 or 13% *CONFERENCES - There was no conference this year, which generated $7,870 in gross revenue in the previous year *FUNDRAISING & OTHER EARNED REVENUES are small contributors to overall revenues presently

*revenues of $162,961 *expenses of $160,783 *operating surplus of $2,178

*at year end the accumulated reserves are now $10,894

Revenue Analysis

0

20000

40000

60000

80000

100000

120000

140000

160000

180000

200000

Total Revenue Grants Membership Conferences Fundraising Other Earned

2008/09 - Actual

2009/10 - Budget

2009/10 - Actual

Expense Analysis Operations & Staffing costs are the largest expense item at 71% of the budget Staff and board have done an excellent job controlling expenses and working to the budget Total expenses were in line with budget, except Staffing which reflects the Executive Directors position being vacant for a portion of the year. Member service expense down over past year as result of no conference in the 09/10 year and there were expenses related to the 08/09 special projects of June 2008 Ballet Meetings & Ottawa Dec 2008 PAA Meetings. I would like to thank Shannon Litzenberger, Aviva Fleising and Judy Harquail for all their help and hard work over the past year. CDA would also like to acknowledge and thank accountant David Mayhew and Francis & McKinney for their services on our audit. Kathi Sundstrom Treasurer

Expense Analysis

0

20000

40000

60000

80000

100000

120000

140000

160000

180000

200000

Total Expenses Operations & Staff Communications & Profile Membership Services

2008/09 - Actual

2009/10 - Budget

2009/10 - Actual

CANADIAN DANCE ASSEMBLY /

ASSEMBLEE CANADIENNE DE LA DANSE

FINANCIAL STATEMENTS

MARCH 31, 2010

Auditors' Report

To the Shareholders of:Canadian Dance Assembly / Assemblee canadienne de la danse

We have audited the balance sheet of Canadian Dance Assembly / Assemblee canadienne de la danse as atMarch 31, 2010 and the statements of income and cash flow for the year then ended. These financialstatements are the responsibility of the company's management. Our responsibility is to express an opinionon these financial statements based on our audit.

Except as explained in the following paragraph, we conducted our audit in accordance with Canadiangenerally accepted auditing standards. Those standards require that we plan and perform an audit to obtainreasonable assurance whether the financial statements are free of material misstatement. An audit includesexamining, on a test basis, evidence supporting the amounts and disclosures in the financial statements. Anaudit also includes assessing the accounting principles used and significant estimates made by management,as well as evaluating the overall financial statement presentation.

In common with many not for profit organizations, The Canadian Dance Assembly / Assemblee canadiennedanse derives revenue from donations and dundraising activities, the completeness of which is not susceptibleto satisfactory audit verification. Accordingly, our verification of these revenues was limited to the amountsrecorded in the records of the organization and we are not able to determine whether any adjustments mightbe necessary to revenue, excess of expense over revenue, assets, liabilities, or net assets.

In our opinion, except for the effect of adjustments, if any, which we might have determined to be necessaryhad we been able to satisy ourselves concerning the completeness of the revenue referred to in the preceedingparagraph, these financial statements present fairly, in all material respects, the financial position of thecompany as at March 31, 2010 and the results of its operations and cash flow for the year then ended inaccordance with Canadian generally accepted accounting principles.

May 19, 2010 Francis & McKinney, LLPMarkham, Ontario Chartered Accountants

Licensed Public Accountants



Statement of Financial Position

As at March 31, 2010

2010 2009

Assets

CurrentCash $ 12,094 $ -Accounts receivable - Grants receivable 9,214 7,500 - Other receivables 3,415 2,488Prepaid expenses 1,353 1,731

26,076 11,719

Long TermCapital assets 2,546 3,183

$ 28,622 $ 14,902

Liabilities

CurrentBank indebtedness $ - $ 4,780Accounts payable 7,818 1,406Unearned revenue 9,910 -

17,728 6,186

Fund Balances

Net assets invested in capital assets 2,546 3,183

Unrestricted 8,348 5,533

10,894 8,716

$ 28,622 $ 14,902

Approved on Behalf of the Board

Director

Director

See the Accompanying Notes



Statement of Income and Accumulated Surplus

For the Year Ended March 31, 2010

2010 2009

RevenueMembership $ 35,014 $ 38,845Donations and fundraising 1,812 11,183Grants - Canada Council 89,000 99,430Ontario Arts Council 29,000 29,000Other 8,135 9,924

162,961 188,382

Expenses

Membership ServicesCommunity meetings 6,722 21,350Conferences 3,335 15,428Advocacy 447 4,730National Council and other meetings 12,613 15,502Consultants 9,073 6,334

32,190 63,344

Communications and ProfileAdvertising and promotion 1,510 5,561Writing and translation fees 4,746 5,601Internet and web-site 5,284 1,944Rebranding consultants and design - 1,384Telephone 2,572 3,004Printing and postage 791 1,114

14,903 18,608

OperationsSalaries, fees and benefits 92,311 81,436Rent, repairs and insurance 13,441 13,497Administration expenses 2,870 6,188Accounting and legal 4,162 2,099Bank and interest charges 269 528Amortization 637 796

113,690 104,544

160,783 186,496

Net Income (loss) for the year 2,178 1,886

Accumulated surplus, beginning of year 8,716 6,830

Accumulated surplus, end of year $ 10,894 $ 8,716




Statement of Cash Flow

March 31, 2010

2010 2009Cash Provided by Operating Activities

Net income (loss) for the year $ 2,178 $ 1,886Amortization 637 796

2,815 2,682

Changes in non-cash working capital:Accounts receivable - Grant (1,200) - - Other (514) 290Prepaid rent 378 (475)Unearned revenue 9,910 (2,430)Accounts payable 5,485 (5,178)

16,874 (5,111)

Cash from Investing Activities

Cash Flows used in Investing Activities - -

Net Increase (Decrease) in Cash and Cash Equivalents 16,874 (5,111)

Net Cash and Cash Equivalents, beginning of year (4,780) 331

Net Cash and Cash Equivalents, end of year $ 12,094 $ (4,780)




Notes to the Financial Statements

March 31, 2010

1. Summary of Significant Accounting Policies

(a) Revenue Recognition:

The Canadian Dance Assembly follows the deferral method of accounting forcontributions. Restricted contributions, if any, are recognized in revenue in the year inwhich the related expenditures are incurred. Unrestricted contributions are recognized asrevenue when received or receivable if the amount can be reasonably estimated andcollection is reasonably assured. Contributions are allocated to the purpose to which theyrelate. If the contributor makes no designation they are allocated to general purposes.Grants are recognized in the period to which the related project occurs. Grants arerecorded in income when the corresponding conditions of the funds received are met or theperiod for which the funds are designated. Conference fees, membership fees,sponsorships, and donations are recorded when received.

(b) Use of Estimates:

The preparation of financial statements in accordance with Canadian generally acceptedaccounting principles requires management to make estimates and assumptions that affectthe reported amount of assets and liabilities and disclosure of contingent assets andliabilities at the date of the financial statements and the reported amount of revenue andexpenses during the reporting period. These estimates are reviewed periodically, and, asadjustments become necessary, they are reported in earnings in the period in which theybecome known. Actual results could differ from those estimates.

(c) Capital Assets:

Capital assets are recorded at cost. Amortization is provided annually at rates calculated towrite-off the assets over their estimated useful lives as follows:

Furniture and fixtures 20% declining balance

(d) Expenditures:

Expenditures related to products and services are expensed to the period and/or program towhich they relate.

(e) Accrual Basis of Accounting:

These financial statements have been prepared using the accrual basis of accounting,whereby, revenue and expenditures are reflected in the accounts in the periods to whichthey pertain, whether or not transactions have been finally settled by the receipt orpayment of money. Grants that have been committed to the current period are included inrevenue whether they have been received or not. Grants received or receivable, butcommitted to future periods are included in deferred revenue.

(f) Donated Materials and Services:

The organization records as revenue and expenditures donated materials and serviceswhen the fair market value of such materials and services can be reasonably estimated.




March 31, 2010

(g) Contributed Services:

Volunteers contribute time to assist the organization in carrying out its programs. Becauseof the difficulty of determining the fair value, contributed services are not recognized inthe financial statements. Canadian Dance Assembly appreciates the contributions ofvolunteers.

2. Purpose of the Organization

The Canadian Dance Assembly is a national arts service organization for professional dance inCanada. The Canadian Dance Assembly promotes, in both of the official languages of Canada,dance throughout Canada by public awareness, education, research, communication,information exchanges, and other activities. The Canadian Dance Assembly commencedoperations in June of 2002 and was incorporated in December of 2004 as a non-profit memberorganization. The Canadian Dance Assembly was granted charitable status on May 1, 2006.The organization has no liability protection for its Directors. The organization is exempt fromincome tax.

3. Lease Commitment

Effective March 1, 2009 the organization entered into a five year lease to rent office space.Rent for each year of the lease, will increase by the greater of 3.5% or the percentage increasein CPI for the preceding year or prorata increased operating costs of the building. Hydro isbilled by the landlord separately. Since the expiry of this lease, space is being rented on amonth to month basis pending a new lease.

4. Capital Assets

Cost AmortizationNet2010

Net2009

Furniture andequipment $ 6,897 $ 4,351 $ 2,546 $ 3,183

5. Financial Instruments

The organizations financial instruments consist of cash, accounts receivable and accountspayable and accrued liabilities. Unless otherwise noted, it is management's opinion that theorganization is not exposed to significant interest, currency, or credit risks from these financialinstruments. The fair value of these financial instruments approximates their carrying values.

6. Donations In-Kind

The organization receives donations of goods from time to time. The fair value of these goodscontributed in fiscal 2009 was $ NIL (2009 - $ NIL) These donations have been recorded asboth an income and expense in the financial statements.




March 31, 2010

7. Cash Flow Information

(a) Cash and cash equivalents consist of cash on hand and balances with bank. Cash and cashequivalents included in the cash flow statement comprise the following balance sheet amounts:

2009 2008

Cash on hand and balances with bank $12,094 $(4,780)

(b) Interest and income taxes paid:

2009 2008

Interest paid $ 0 $ 0

Income taxes paid $ 0 $ 0

8. Related Parties

The Executive Director reports to the Board of Directors and earns a salary from theorganization. The salary paid is approved by the Board of Directors and is at fair market value.All transactions are at fair market value; Canadian Dance Assembly does not have any otherrelated party transactions.


June 9, 2010 Ottawa Ontario

ADVOCACY REPORT The Canadian Dance Assembly (CDA) is the voice of Canadian dance. Together with its growing number of partners in

government and in the cultural and social sectors, CDA has advanced the cause of dance by monitoring and responding to

public policy, representing its membership around critical issues, funding, taxation, legislation, and trends affecting dance

in Canada. CDA applies particular emphasis on advocating for increased funding for arts and culture and, specifically, for

dance. The efforts of the organization and its members have had a considerable impact over the last year.

The CDA Advocacy Committee meets regularly and provides consultation on CDA advocacy responses and initiatives.

CDA’s advocacy work is undertaken in collaboration with a number of partner organizations including the Canadian

Conference of the Arts (CCA), Canadian Arts Coalition (CAC), Performing Arts Alliance (PAA), Regional Dance Service

Organizations, and other National Dance Service Organizations.

The 2009-10 Advocacy Committee members include:

Randy Joynt (Co-Chair) General Manager, TRIP Dance, Winnipeg, MB

Alain Dancyger (Co-Chair) Directeur général, Les Grands Ballets Canadiens, Montreal, QC

Janice Beley General Manager, Raven Spirit Dance, Vancouver, BC

Paul Caskey Artistic Director, Live Art, Halifax, NS

Chrystine Chambers Program Officer, Strategic Arts Management, Halifax, NS

Sasha Ivanochko Artistic Director, blackandblue dance, Toronto, ON

Shannon Litzenberger Consultant, CDA, Toronto, ON

Jeffery Melanson Executive Director, National Ballet School, Toronto, ON

Nicole Mion Artistic Director, Springboard Dance, Calgary, AB

Lata Pada Artistic Director, Sampradaya Dance Creations, Mississauga, ON

Gilles Savary Directeur général, Fortier Danse-Création, Montreal, QC

Jim Smith President, CDA and Producer, Eponymous, Vancouver, BC

CDA’s ability to leverage partnerships within and outside the dance community is one of its greatest strengths. CDA is a

natural advocacy partner for many organizations in the cultural sector as the voice of the dance sector. Its broad

representation allows it to advocate within wider circles, including multi-disciplinary coalitions and associations that

regroup representative bodies in the cultural sector. The following is a synopsis of CDA advocacy partnerships and activity

to March 31st, 2010.

Performing Arts Alliance – In 2009, the Performing Arts Alliance (PAA) expanded to include the Canadian Arts

Presenters Network (CAPACOA), along with founding members CDA, the Professional Association of Canadian Theatres

(PACT), Opera.ca and Orchestras Canada. Last year, the PAA collaborated to present common federal pre-budget

recommendations to the Standing Committee on Finance, advocating for a renewed ask of $120M over three years to the

Canada Council for the Arts, increasing its budget to $300M by 2013; the creation of a new $25M Market Access and

Development Fund, designed to recoup critical investments lost from the PromArt and Trade Routes programs that were

eliminated last August; and an increased tax credit to 39% on gifts between $200 and $10,000 to stimulate the flow of

charitable gifts from middle-income Canadians. CDA, along with PACT, Orchestras Canada and Opera.ca was invited to

present recommendations in person to the committee.

To assess the impact of the economic recession on the performing arts sector, the PAA collaborated on a research initiative

aimed at gathering useful data on how performing arts organizations have been affected by the changing economic

environment over a period of time. This initiative included a series of periodic snapshots of organizational impact and

behaviour as a result of the Recession. To date, two of four reports have been released, with the third currently in progress.

To further endorse its pre-budget recommendations, the PAA met with several MP’s during the year in Ottawa, including

Minister of Heritage James Moore, and Heritage Critics from other parties. Our efforts to raise the profile of arts issues on

the Hill have contributed to the creation of an all-party arts caucus (initially led by PACT). The goal of the arts caucus is to

sensitize MP’s on current arts policy issues. There are currently over 60 participating members of the arts caucus.

As CDA’s relationship with the PAA evolves, more of our advocacy efforts are driven by this collaboration, as its impact

has been of significant benefit to our members and the dance sector.

Canadian Arts Coalition – At CDA’s initiative, the Performing Arts Alliance took action to galvanize arts sector

advocacy efforts by re-assembling a new Coalition that will coordinate the messages and actions of the arts sector leading

up to and during the next federal election. The Canadian Arts Coalition is a national arts, culture and heritage lobby with a

structure and resourcing strategy that permits active engagement in the political process. It will maintain a non-partisan

approach to all lobby actions, work in a way that is collaborative and non-adversarial and focus on politically strategic

actions that will advance shared lobby goals. Its short-term goals will include two specific asks that coalition members will

advocate to all parties: 1) increase the annual budget of the Canada Council for the Arts to $300 million; and 2) invest in a

new market access and development fund – an investment measure aimed, in part, at replacing cut programs that supported

international touring. As resourcing permits, the Coalition will design and deliver a focused strategy that aims to advance

immediate priorities in the current political and economic environment. Strategies may include a comprehensive

communications plan, including media relations, full participation in federal government consultation processes and the

organization of such initiatives as an annual Day on the Hill, where arts advocates, supporters and artists can make a united

case for the arts to MPs.

CDA nominated Shannon Litzenberger to sit on the seven-member Steering Committee. She was elected along with

Katherine Carleton, Orchestras Canada, Eric Dubeau, Fédération culturelle canadienne-française, Bastien Gilbert, Artist-

Run Centres and Collectives Conference, Melissa Gruber, Canadian Artists’ Representation, Sarah Iley, The Banff

Centre/Canadian Arts Summit and Barbara Ulrich, Conseil québécois des arts médiatiques. The Coalition needs

participation from the sector, to provide services, staff and volunteer time on a pro bono or very low cost basis and enough

monetary support from the sector to deliver a consistent annual lobbying program. www.canadianartscoalition.ca

Other consultations and representations – CDA is called upon frequently to provide consultation and commentary to

advocacy partners and the media on relevant issues that impact the sector. CDA has been interviewed on CBC’s ‘The

House’ regarding the impact of the federal Economic Stimulus Package on the arts sector and has also been quoted by

national media sources on issues such as cuts to programs that support international market access and development. This

year, CDA intervened when dance presenters and festivals were facing major programming and financial planning

challenges due to delays around Arts Presentation Canada application results. CDA instigated national media attention,

noting that excessive processing delays were hindering the impact of public investment in arts and culture. A Globe and

Mail article quoting the CDA and several of its members triggered questions on the issue directed at Minister Moore by

opposition culture critics during question period.

Other activities include consultations with other arts and social service organizations such as the Canadian Conference for

the Arts, Imagine Canada and the Toronto Arts Council Advocacy Committee (as the National rep). CDA also had

representation on the Ontario Steering Committee for the National Culture Days project.

CDA commissioned a national message from Nico Archambault in celebration of International dance Day, which was

distributed to the community and to our Regional Service Organization partners for use and re-distribution. CDA also

generated a press release, which included both this message and the official international message along with a sampling of

activity taking place on the day across the country.

Looking ahead, CDA will continue to advance its two key priorities of advocating for increased investment in the Canada

Council for the Arts and for the creation of new initiatives to support market access and development. As always, the

participation of our members in these efforts and other advocacy initiatives is critical.

CDA staff and National Council wish to thank all those members who have actively engaged in the advocacy efforts of the

organization over the last year. Together with our colleagues across the cultural sector and beyond, the collective voice of

the dance community MUST continue to inform critical policy discussion, in order to protect our artistic legacy and build a

positive future.

Respectfully Submitted,

Shannon Litzenberger

Advocacy Consultant

On behalf of

Alain Dancyger Randy Joynt

Co-Chair of the Advocacy Committee Co-Chair of the Advocacy Committee


June 9, 2010, Ottawa, Ontario

NOMINATING REPORT The National Council of the Canadian Dance Assembly is composed of the Chairs of the Standing Councils, who are elected by their Council memberships, and additional Members at Large (up to seven) who are appointed by the National Council to ensure broad geographic representation and a good mix of disciplines and skills. The terms for the Chairs of Standing Councils are three years, unless a Council has to fill a position that has been vacated during that term’s cycle. The appointed members serve for terms of one year, which may be renewed, to ensure flexibility in representation. The maximum term of service for a National Council member is six consecutive years. The Canadian Dance Assembly announces the following National Council members for 2010-2011: Standing Council Positions (these are elected positions with three year terms) Dianne Milligan (NS) Chair of the Service and Support Standing Council (2013) Gilles Savary (QC) Chair of the Dance Companies Standing Council (2013) Barbara Clausen (BC) Chair of the Dance Presenters Standing Council (2011) Chrystine Chambers (NS) Chair of the Freelancers and Consultants Standing Council (2012) Sasha Ivanochko (ON) Chair of the Independent Artists Standing Council (2012) Alain Dancyger (QC) Chair of the Ballet Companies Standing Council (2012) Mary Jane Warner (ON) Chair of the Writers, Researchers and Educators Standing Council (2011) Members At Large – (these positions are appointed, term is one year) Michael Greyeyes (ON) Randy Joynt (MB) Harry Paterson (AB) Lys Stevens (QC) Kathi Sundstrom (AB) Michael Trent (ON) Ex-Officio Positions: Jim Smith (BC) – Past President Officers of the National Council The officers of the National Council are appointed by the National Council immediately following the Annual General Meeting. The National Council would like to thank outgoing President Jim Smith for his exceptional leadership. Jim has been instrumental in facilitating the growth and development of the organization by serving on several committees including the Executive Committee, Human Resources Committee and Advocacy Committee. We are grateful for the time he has given to CDA and look forward to his continued participation as Past-President. The National Council would also like to thank Richard Stoker, outgoing Past-President. Dick was a Founding Member of the National Council and served as a member of the original committee that envisioned the Canadian Dance Assembly. He helped guide the organization through the critical stages of early development and has since continued to offer valuable services in shaping the organization. Respectfully Submitted, Mary Jane Warner Chair of the Governance Committee

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