New Works supports 3-5 artists each year through a variety of short-term pro-bono services, which include management, mentorships, and consultations.
Vancouver has an incredible ecology of talented dance artists and companies who operate without adequate management support, and who lack the resources to successfully build capacity in this area. New Works provides a stable infrastructure and the support of our team of skilled and experienced arts administrators through projects that are time-limited with clear goals. Examples are: developing administrative capacities, creating systems to build tour opportunities, supporting the production of a new work, leading a marketing campaign, and longer-term strategic planning.
New Works currently supports:
Olivia C. Davies
Olivia C. Davies is a Canadian dancer and artist. She honours her Métis-Anishnawbe heritage in her practice with intrinsic ties to feminist politics and social justice. Her work often explores the emotional and political relationships between people and places. Her first full-length work Crow’s Nest and Other Places She’s Gone (2017) blends Contemporary dance, theatre, and street culture through an Indigenous lens. In addition to Crow’s Nest, she has created, directed, and danced in several shorter performance pieces including The Falling Stars (2015), Open Fire (2016), Compass (2017), Re:Verb (2017); devising cohesive artistic collaboration with multimedia arts collectives, musicians, fiction writers and poets. Her recent choreographic projects include Gateways (2018) and Rematriate (2018).
After training at York University, Davies developed a solo career as dance improviser in Toronto’s live music and cabaret communities and multiple commissions to choreograph for gala presentations, fashion shows, festival stages, burlesque revues, and music videos. Davies continues to find inspiration in a synergistic exchange with co-creators and audience-witnesses. She has interpreted work by Art For Impact/Anna Kraulis, Annie Thompson Designs, Body Narratives Collective, Forest Crone Productions, Karey Shinn Designs, Kelty McKerracher, Maura Garcia Dance, Myola Paulter, Victoria Mata, and is a founding member of the MataDanze Collective (2005) and the Circadia Indigena Aboriginal Arts Collective (2016).
Her community-engaged practice includes facilitation of Home: Our Way dance and story weaving workshops, Seniors Dance, and collective creation labs. Davies seeks to create safe spaces where movers are empowered to find their unique expression of theme and personal legacy and open different ways to see and experience the world. Her work has been presented across Canada in Ontario, Quebec, and BC since 2004.
Jennifer McLeish-Lewis is a dance artist who performs, choreographs, and teaches. Jennifer trained across Canada at The Alberta Ballet School, The School of Toronto Dance Theatre and MainDance in Vancouver. As a dancer, she has performed in Canada, the United States, and Europe. She worked for MACHiNENOiSY and Marta Marta Productions from 2002-2012 as a dancer. As a choreographer, Jennifer’s work has been presented by The Dance Centre, Dancing on the Edge, OFF VIDF, DIY at Dance in Vancouver, The Seattle International Dance Festival, Short and Sweet in Montreal, Crimson Coast in Nanaimo, and Lucky Trimmer in Berlin. Her choreography has been supported by BC Arts Council and Canada Council for the Arts and was recently awarded the full grant amount in both for her new Dance on Screen project, directed by Lynne Stopkewich.
Jennifer McLeish-Lewis is currently fascinated by the impact of borders and limitations on thought and creativity. She is eager to transcend limitations in both form and content. Her work straddles traditional/rigorous training and the ephemerality of contact improvisation. She is keen to destroy the artificial separations between dance and other forms of live performance; cross-pollination and collaboration between different media have always been crucial to her work.
Drawn to the near-misses, Jennifer McLeish-Lewis’ context revolves around her identity as an intersectional feminist, aiming to transform both the portrayal and the perception of women both inside and outside of the dance world. She believes that the more personal the work, the more universal its impact. In its dependence on Contact, in its fearless confrontation of discomfiting subject matter, and in its utilization of solos and duets instead of large group work; her work doesn’t resemble that of her peers’ but instead has a provocative and arresting quality that is all her own.
Shay Kuebler Radical System Art (RSA)
Shay Kuebler Radical System Art (RSA) was formed in Vancouver, Canada, in February 2014 to support and develop the work of Artistic Director Shay Kuebler. Radical System is based around the theory of creating form without form and using technique without technique. The company looks to create performance works through a mixed language of martial arts, theatre and dance. With this diverse foundation, RSA aims for each new project to find its own unique form and points of instigation. Through rigorous research, creation and performance, the company strives to discover new, compelling and challenging forms of physical art that increase both public appreciation and support for the arts.
Shay Kuebler Radical System Art builds upon the creations, productions and relationships that have been created through Shay Kuebler’s years as an independent artist and collaborator in Canada. His work has crossed the boundaries of theatre, multiple forms of dance and physical performance including works for Les Grands Ballet Canadiens, CitieBallet, Ecole de Danse de Quebec and The Place School of Contemporary Dance in London. He is also one of the founding directors of The 605 Collective. His choreographic work has been commissioned for national and international festivals such as The Canada Dance Festival, The American Dance Festival, The Dancing on The Edge Festival, The International Dance Festival of Brazil and The Baalbek Arts Festival in Lebanon.