Night Garden (2012)

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By 2012 Peggy was well and truly bitten by the Nuit Blanche bug, and set out to create her third installation for Toronto’s all-night celebration of contemporary art. She writes:

The Betty Oliphant Theatre at Canada’s National Ballet School is a big, square auditorium fronted by the façade of a Victorian house that was designed by Jack Diamond. Seating for an audience of 260 rises for 8 rows from the main floor with a large balcony and box seating on both sides above. Surprisingly, the 8 wide rows of upholstered seats may be accordioned back to fit under the balcony, revealing an expansive floor directly in front of the stage.

Wanting to do something special and unexpected for Nuit Blanche, I was extremely excited about staging a work that could proceed with interruption for a full 12 hours on the house floor of the theatre, with the audience watching from above on three sides and coming and going freely throughout the duration of the work. To add to the surreal beauty of this overhead view, Larry Hahn created a set of 12 standing lamps – each with an undulating silver stalk crowned with a glowing white cone – that were arranged in clusters throughout the space. 

Sourcing and then reworking foundational material from coalesce and Piano/Quartet, I developed a 20-minute choreography to be performed successively by four different casts, and with each cycle overlapping in the last few minutes as the work was passed on to the next trio. The extraordinary dancers for this project were Ric Brown, Sarah Fregeau, Kate Holden, Benjamin Kamino, Megumi Kokuba, Amanda LaRusic, Sean Ling, Sahara Morimoto, Andrea Nann, Jessica Runge, Stephanie Tremblay Abubo, and Natalie Westerbeek. The dancers’ black sequined costumes – each one unique and artfully crafted by Jennifer Dallas – glinted in the glowing lamplight, while a gentle, shimmering score by Debashis Sinha resonated throughout the space.

The emotional potency of this durational dance worked on me more and more deeply as the night progressed, and when the final cycle was completed and the space was left empty, and then quiet, and then dark, I was overwhelmed by the feelings of profound grief I had been carrying for the 20 months since the death of my husband.

Aleatoria (2010)

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Peggy was bitten by the Nuit Blanche bug early! After creating move in 2009, she followed up the next year with a new, all-night durational work, Aleatoria.

Peggy writes: Debashis Sinha was my Musical Director for the premiere of move at Nuit Blanche, and he had brought in some other improvising musicians who all played together, switching off as to who was leading. Phil Strong, Ben Grossman and John Gzowski joined Deb, and the shifts in the sonic environment throughout the 12 performances between 7pm and 7am offered tremendous support and stimulation to the performers.

Ben gifted each of us involved in move with his new double CD release, Aleatoric Solo Duets for Electro-Acoustic Hurdy Gurdy. The two CDs were designed to be played simultaneously with each CD player set to shuffle so that the tracks – which were varying lengths – constantly recombined. I LOVED this concept as a premise for a durational dance and immediately beginning planning for Nuit blanche 2010.

I brought together 11 dancers who had been involved in past performances of my work and asked them to call up any movement memories they carried from those dances and to use them as the basis for improvised episodes that would last 10 minutes. ‘Aleatoric’ means randomly or by chance and taking that invitation we used a chance procedure to determine the order of dancers each hour. The 12-hour performance began with a single dancer who was joined by a second dancer after 5 minutes and replaced by a third dancer at the 10-minute mark and so on and so on throughout the night. I joined Kate Alton, Nova Bhattacharya, Sylvain Brochu, Sarah Fregeau, David Houle, Sasha Ivanochko, Sean Ling, Sahara Morimoto, Andrea Nann, Jessica Runge, and Brodie Stevenson – each of us dancing as soloists but also spontaneously creating duets with one another to Ben’s gorgeous music as it spun out over the hours.

Find out more about the hurdy gurdy here on YouTube.

Film-maker Midi Onodera captured time-lapse movies. You can watch them here on her website.

Her Heart (1992-93)

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This week Peggy looks back at a work that is very close to her, inspired by her mother, Rean Smith:

From 1991 to 1994 I was director of the summer dance program at Simon Fraser University on Burnaby Mountain, and I often stayed on in Vancouver to teach for EDAM at the Western Front. Peter Bingham had picked up the reins of EDAM as Artistic Director in 1989, (it had been a collective that included my husband Ahmed Hassan up to that point), and during those Vancouver teaching stints Ahmed and Peter and I spent a huge amount of time together – sharing meals, discussing art and politics, listening to music. One evening Peter put on a record of late piano music by Johannes Brahms and the Opus 117 and 118 Preludes immediately suffused me in waves of memory connected to my mother.

In 1992, I was invited to create a work for Joysanne Sidimus and Susan Macpherson for a gala in support of the Dancer Transtion Resource Centre, and I took this as an opportunity to work with Opus 117 No. 1. As I made this duet I held the image of my mother at her age at that time, 64. My mother was just 24 when I was born, and other of the preludes captured vivid memories of her in her thirties (Opus 118 No. 2), forties (Opus 117 No. 2) and fifties (Opus 117 No. 3). In 1993, I distilled the duet into a solo and brought it together with the other preludes in a work I titled Her Heart.

My mother died in 2018, a few months before her ninetieth birthday, and only a matter of weeks before a concert in Toronto for which the superb dancer Jessica Runge would perform Her Heart. The great Brahms interpreter Peter Longworth was to have performed with Jessica, but he went into the hospital just days before the opening and tragically died soon afterward at the age 53. With just three days to prepare, pianist Cheryl Duvall stepped forward to play the Brahms in a series of performances that held love and longing and a profound sense of loss. - PB

"A rhapsodic memory dance addressing themes of the aging woman." Elissa Barnard / Chronicle Herald / Halifax

For an introduction to the music of Brahms visit The Guardian here.

Brahms Waltzes (1992)

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This week we arrive in 1992 and look at Peggy’s third major solo created on and for herself, the timeless Brahms Waltzes:

“An invitation to bring a solo program to Peterborough through Public Energy Performing Arts came with some commissioning money for a new work, so Brahms Waltzes marks the very first work of mine to garner to an investment in my choreographic development by a presenter – trailblazing contemporary dance champion, Bill Kimball.

Although having a pianist perform with me for the premiere far exceeded the scope of the budget for this run with Bill, the choice of an early work for piano by Johannes Brahms was certainly inspired by the possibility of having Andrew Burashko perform with me at some point in the future.

Annabelle Gamson had taught me Isadora Duncan’s dances to the same series of waltzes, and I curious to see how I might respond to the music myself. As I developed the choreography I could feel myself weighing the many influences on my dancing and asking myself what to let of go, what to go beyond, what to get deeper inside. I think I kept coming back to this dance as a kind of touchstone because it holds that time of transition so transparently.

Brahms Waltzes rides the uncomplicated joys of the music, but it also holds two central metaphors: sleep as an integrating force during a time of personal change and growth, and the demarcation of a new period in one’s life as the crossing of a threshold.” PB

"Mixes graceful lyricism with an economy of gesture and even moments of complete stillness in a solo that spans explosions of power with almost meditative serenity.” - Michael Crabb, The Toronto Star

Peggy gifted this work to Kate Holden and Jessica Runge as part of Year One of her Choreographer’s Trust project. Find out more about The Choreographer’s Trust here, and read about Kate’s reinterpretation of this piece as this body of memory / Brahms Waltzes in The Toronto Star here.

To read more about sleep as a metaphor in art and dance, read this article in The Huffington Post.