Asian Canadian Wiki - User contributions [en]

Fujiwara Dance

2010-11-24T16:58:33Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Janet Lumb

{{AAType
|Image=Fujiwara.jpg
|Home page=http://www.fujiwaradance.com/
|Location=Toronto
|Arts=Dance
|Type=Person
|Aspects=Developer
}}
''''To dance is to journey into the secrets of intuition, memory, dreams; to encounter and express the mysteries of human nature as they are manifest in the body, before words.'''
'''I believe in the ability of art to move people, to change people, to put people in touch with the best part of their humanity, to remind people of the complexity of their humanity and to cultivate compassion.'''

'''Denise Fujiwara'''

== ABOUT DENISE FUJIWARA ==

2010 marks Denise Fujiwara's 32nd year as a dance artist. She is one of the most diverse talents to evolve on the Canadian dance scene; a sought after choreographer, dancer, teacher, impresario and actor.

She began her interesting career in childhood, as a gymnast, when she competed internationally for the Canadian Rhythmic Gymnastics team. Upon completing an Honours B.F.A. in Dance at York University, she became one of the founders of T.I.D.E. (Toronto Independent Dance Enterprise). Here she was instrumental in the creation of a diverse body of work for the now-defunct but still notorious company that danced across Canada for 10 years.

In 1991 she formed her own company, Fujiwara Dance Inventions, to house the development of her solo projects. To date her six solo dance concerts, Spontaneous Combustion, Vanishing Acts, Sumida River, Elle Laments, Brief Incarnations and Komachi have garnered praise across Canada and have toured to festivals in the United States, South America, Europe and Asia. Her recent forays back into ensemble choreography resulted in Conference of the Birds, a work for 9 dancers and 3 musicians that was called, “– the best thing to premiere at the (fFIDA) festival in many a year”, and NO EXIT, “- so precisely performed it needs no words.” by the Toronto Star. This year she will premiere Lost and Found at Toronto’s DanceWorks. This work has been commissioned by the CanDance Network of Presenters and will tour eastern Canada in the spring of 2010.

Fujiwara’s approaches to the disciplines of dance technique, improvisation, performance and choreography have developed over more than three decades of intensive research, practice and performance. She has had remarkable mentors including Tokyo Butoh master, Natsu Nakajima, Montreal dance pedagogue, Elizabeth Langley, the now disbanded Mangrove Dance Collective of San Francisco, the American theatre director, Anne Bogart, and the late great Canadian choreographer, Judy Jarvis.

In addition to her career as a dance artist, Ms. Fujiwara works in film and television. Walls, a CBC Television documentary about her life and work by celebrated filmmaker Jeremy Podeswa, won the 1995 Gemini Award for Best Performing Arts Program. In 1997 she co-founded the CanAsian International Dance Festival where she is the Artistic Director. Her work with CanAsian promotes the work and development of dance artists from across Canada and beyond.

{{From|http://www.fujiwaradance.com/|}}

CanAsian Dance Festival

2010-11-24T16:58:30Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Xifeng

{{AAType
|Image=Canasiandance.jpg
|Home page=http://www.canasiandancefestival.com
|Location=Toronto
|Arts=Dance
|Type=Group
|Aspects=Moderator
}}

== About Us ==

'''Mandate'''

The CanAsian Dance Festival fosters and promotes diverse expressions of Asian aesthetics through dance in Canada. Through an annual festival and artistic and professional development activities the CanAsian Dance Festival:

Supports the presentation of traditional dance art forms as well as new forms that come out of traditional dance vocabularies, and the integration of contemporary and traditional forms and concepts through the presentation of dance concerts;
Supports the creation of original Canadian dance by commissioning outstanding choreographers to create new work and by presenting that work to the Canadian public;
Supports the continued professional development of choreographers and dancers through the presentation of dance concerts to the public and through the education of choreographers and dancers through its workshops, master classes, panel discussions and forums;
Aims to inform the larger dance community and the general public of the diversity of dance artistry in Canadian society through its public performances, workshops, classes and forums. It celebrates that diversity and promotes greater acceptance and understanding within society.

== Artistic Director ==

'''Denise Fujiwara'''

Denise Fujiwara is a choreographer, dancer, actor, dance impresario and teacher with over 28 years of professional experience.

She began her interesting career in childhood, as a gymnast, when she competed internationally for the Canadian Modern Gymnastics team. Upon completing an Honours B.F.A. in Dance at York University, she became one of the founders of T.I.D.E. (Toronto Independent Dance Enterprise). Here she was instrumental in the creation of a diverse body of work for the now-defunct but still notorious company that danced across Canada for 10 years.

In 1991 she formed her own company, Fujiwara Dance Inventions, to house the development of her solo projects. To date her six solo dance concerts, Spontaneous Combustion, Vanishing Acts, Sumida River, Elle Laments, Brief Incarnations and Komachi have garnered praise across Canada. Her work has toured to festivals in the United States, South America, Europe and Asia. Her recent foray into ensemble choreography resulted in Conference of the Birds, a work for 9 dancers and 3 musicians that was called, "- the best thing to premiere at the (fFIDA) festival in many a year" by the Toronto Star.

In addition to her career as a dance artist, Ms. Fujiwara works in film and television. Walls, a CBC Television documentary about her life and work by celebrated filmmaker Jeremy Podeswa, won the 1995 Gemini Award for Best Performing Arts Program. In 1997 she co-founded the CanAsian Dance Festival where she is the Artistic Director.

Fujiwara's approaches to the disciplines of dance technique, improvisation, performance and choreography have developed over more than two decades of intensive research, practice and performance. She has had remarkable mentors and teachers including Tokyo Butoh master Natsu Nakajima, Montreal dance pedagogue Elizabeth Langley, the now disbanded Mangrove Dance Collective of San Francisco, the American theatre director Anne Bogart, and the late choreographer Judy Jarvis.

{{From|http://www.canasiandancefestival.com|http://www.canasiandancefestival.com/about.php|http://www.canasiandancefestival.com/art_dir.php}}

National Asian Heritage Symposium 2010

2010-11-24T16:58:27Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Rparungao

{{Event
|People=Festival Accès Asie
|Location=Montreal
|Home page=http://www.accesasie.com
|Arts=Festival
|Start date=17/09/2010
|End date=19/09/2010
}}
===History of Asian Heritage Month in the United States===
Asian Pacific American Heritage Month (APAHM) is celebrated in May to commemorate the contributions of people of Asian and Pacific Islander descent in the United States. Congress passed a joint Congressional Resolution in 1978 to commemorate Asian American Heritage Week during the first week of May. This date was chosen because two important anniversaries occurred during this time: the arrival of the first Japanese immigrants in America on May 7, 1843 and the completion of the transcontinental railroad (by many Chinese laborers) on May 10, 1869. In 1990 Congress voted to expand it from a week to a month long celebration and in May 1992, the month of May was permanently designated as “Asian/Pacific American Heritage Month.”

===History of Asian Heritage Month in Canada===

1995: The first Asian Heritage Month (AHM) meeting in Toronto was initiated by Toronto Asian Heritage director,Saheed Khan. This event was supported by the Canada Council Head of Music section, Gary Christall, and included AHM partners from Vancouver, Jim Wong Chu, Zainub Verjee, Toronto’s Desh Par Desh team and Accès Asie’s team with Janet Lumb, Bernard Nguyen and Attif Siddiqi.

2001: Senator Vivienne Poy declared the month of May as Asian Heritage Month in the Senate.

2003: A four-day meeting occurs between Montreal Asian Heritage Festival with the Vancouver Asian Heritage Month group. This exchange meeting was supported by Canada Council through its Outreach section and included William Lau as a representative from Toronto’s Little Pear Garden Collective.

2005: Accès Asie organized a national AHM team meeting in Toronto that was sponsored by the Harbourfront Centre with representatives from Asian Heritage Month groups from Toronto, Ottawa, Halifax, Montreal and Calgary.

2006: A teleconference call was organized with Senator Poy and with Asian Heritage Month groups across Canada consisting of representatives from Montréal, Toronto, Winnipeg, Vancouver, Halifax and Ottawa.

===Asian Heritage Symposium 2010===
Accès Asie (aka Montreal Asian Heritage Festival) is hosting a national Asian Heritage Month(AHM) symposium for Fri., Sat. Sun. Sept. 17, 18, 19, 2010 in Montreal. Building into, during and after the symposium in a participatory national momentum towards an network, Accès Asie is spearheading an Asian Canadian wiki, www.asiancanadianwiki.org. Documents, notes and comments, of the symposium will be available on the wiki for all to access and to add.

Accès Asie has identified a need to connect Asian Canadian cultural communities and artists who may be working in isolation, in order to encourage cross-regional, cross-provincial and cross-community exchanges such as resource sharing, collaborative strategies, touring possibilities, funding options etc.

The symposium will offer discussion and coaching activities led by speakers who are known for their leadership in the respective areas of cultural strategy, fundraising strategies and diversity-equity policy implementation.

The Asian Canadian wiki is to develop the connections and shared information from the symposium, facilitate communication and cultivate a democratic, information sharing connection with Asian Heritage month organizations, cultural communities and artists increasing the profile and visibility of Asian Canadians across Canada.

== Key Themes from the Symposium ==

Where do we go from here, how do we look at successes and challenges?

= Key theme: Funding =
- Is it possible to put together a national strategy for resource sharing network?
- A national strategy for funding and advertising? Work with CBC on national level? Are we ready for this yet?

- Letter of concern to CIC
- Looking for more information in terms of funding options and knowledge sharing
- More guidance to proposal writing
- Looking for mechanism to connect with successful organizations
- Patrons
- Cities
- List of funding bodies
- Provinces
- Other community organizations
- Corporations
- Donations
- Schools
- Wills, bequeaths
- Sales of art and other merchandise
- Fundraising events
- Canada Helps (donation)
- Big list
- Ticket sales
- Revenue from Performances and events
- Mail campaigns
- In-kind resources
- Charitable status
- Silent Auctions, raffles
- Social enterprise
- Business that is not-for-profit and all revenue goes to the society (e.g. Salvation Army)
- Garage Sales

- Human Resources
- Children, family neighbours
- University-based organizations (e.g. community service learning)
- Internships, co-ops
- Volunteer associations
- Members on Facebook and other social media (Twitter, Virtual assistant)
- Employment centres
- Government re-training programs

= Key theme: Community activism and strategy =
- How do we effectively strategize our resources?
- What are best practices from other organizations?
- How do we effectively advocate and lobby Asian Canadian issues locally, provincially, federally and to corporate partners?

- Board members
- Join forces with similar organizations (ideally they have more money!)
- Government consultation, networking with the government (through workshops)
- Not a competition, use similar organizations as a strength and borrow from their resources
- Social media (FB, Twitter)
- Look for supportive politicians
- Use your website well
- Newspaper support
- Interacting with mainstream organizations in your community – make the event appealing to all
- Support a charity to raise the profile of the organization
- Participate in fundraising events of other groups to gain them as allies
- In-kind support
- Understand your mission statement and make sure other knows what you stand for
- Be active in schools to gain youth support
- Partnerships with other organizations
- Talking to your government funding agents when you’ve been accepted or rejected to network and to find out what worked/didn’t work
- Author visits in May
- Try to integrate workshops/information into the school system (similar to Black History Month)
- Crowd-sourcing
- Asking your target group what they want and have them determine what you should organize. Ensuring that Asian Heritage month is relevant to the community rather than run by a board of directors
- Educating the older generations – what are the new challenges, needs and wants of the community and conveying how they’ve changed and how they can play a role in planning Asian History month
- Contacting immigrant organizations – to get them on-board with the community as soon as possible
- Increase PR with immigrant centres
- Ties into HR options

= Key theme: Marketing =
- How do we get the media’s attention?
- How do we populate our events?
Actions
- Teleconference (6-10 hours aiming target – May 2011)
- Corporate or academic networks to reduce teleconference costs
- Telus specifically would be a good option
- Research where resources are available
- Each city can option to bring in artists to perform
- Communicating with students interested in East Asian culture (e.g. East Asian studies programs)
- Apply for commemorative stamp with Canada Post – Senator Poy to write a letter to CP – for the 15th anniversary of AHM
- Co-sponsor events with other organizations
- Newcomer contributions spark media interest
- Appeal to the universal story – the media doesn’t want an event...they want a story
- Give the media something to talk about other than just selling an event
- Know how to properly pitch to the media
- Invite journalists as an MC
- Make use of the ethnic press
- Make a strong press kit, follow up with it
- Make sure your press kit is supportive of the language of the newspaper (Chinese, Korean, etc.)
- Know your local media and who covers similar stories
- Know your free paper
- Build a strong network – use your social network resources
- Collect population data – survey
- Youtube, Facebook, Ping.fm, online resources
- Utilize the newsletter of different organizations – church bulletins
- Make sure your partners use their networks as well, make sure you partner with larger organizations that have large mailing lists!
- Line-up with festival organizations
- Stop doing your own marketing – get a marketing professional on your board! You don’t know what you’re doing
- Get young people onto your boards
- Change the inside to change the outside
- Founders syndrome is rampant in our community
- Contact your work-email. Know the networking groups available to you! How about the work e-mails of the board members Public libraries
- Free newspaper listings for PSAs
- Get onto events calendars and kiosks
Who does what, when?
- Letter of concern to CIC – representing everyone in the Asian Heritage community
- Presents more obstacles than before
- Who is willing to participate in drafting the letter
- Madivh Verna
- Carol
- Nathan White
- Robert Yip
- How do we want to distribute the letter?
- One letter signed by all various organizations
- Put forward practical solutions – clarification around basic questions that were left unanswered
- Critique the process, not the individual
- Find support from other organizations (like Black History groups)
- Needs to be sent out to all the groups for editing
- Due September 30th

Form letter will be sent out to all the organizations from Senator Poy’s office
- Send as many supporting letters from the community as possible
- Deadline is by the end of the year (2010) – goal is for 2016 stamp

=== Minutes from Symposium lectures: ===
* [[File:Plan_and_Promote_Events_With_Social_Media.pdf‎]]
* [[File:Perspective_on_touring_for_WIKI_AAF.pdf‎]]
* [[File:MontrealConferenceSept18.pdf‎]]

{{From|http://en.wikipedia.org/wiki/Asian_Pacific_American_Heritage_Month}}
{{From|http://accesasie.com}}
[http://asiancanadianwiki.org/mediawiki/images/5/53/Symposium_schedule.pdf Schedule]

Leveraging social media

2010-11-24T16:58:25Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by David Mason

= {{PAGENAME}} =

__TOC__

[[File:Social-media.jpg|320px|right|Social media brands]]

== 1. Building an Audience (Using Ping.fm and the Following Tools) ==

* http://www.ping.fm
* http://www.facebook.com
* http://www.twitter.com
* http://www.upcoming.com
* http://www.ning.com

Using Ping.fm users will be able to post to multiple social networks simultaneously.

Once you set up ping.fm, create a Facebook Page which is tied to the service as it will appear in News Feeds every time users update the Page’s status. Creating a Facebook Event is also key, as well as having guests and members update their own status.

== 2.Optimize the event for social media sharing ==

* http://www.ustream.tv
* http://www.qik.com
* http://www.polleverywhere.com

With smartphones, users are able to stream key portions of events, keeping in mind that users don’t have to stream everything – just the good stuff. Live services like qik.com make this possible, and, if not, users can always use www.youtube.com. One can also do live-polling with a tool like www.polleverywhere.com.

== 3. Post-event social media communication ==

* http://www.youtube.com
* http://www.flickr.com
* http://www.facebook.com

To ensure that your event leaves a lasting impression, users are able to upload photos to Flickr and post videos on YouTube.

[[Category:Social media]]

Chanti Wadge

2010-11-24T16:58:24Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Janet Lumb

{{AAType
|Image=Chanti Wadge.jpg
|Location=Montréal
|Arts=Dance
|Type=Person
}}
Born in Seoul, raised in Vancouver, Chanti Wadge has been living in Montreal since 2002. With a background in classical dance, improvisation and contact, Chanti has been recognized as an exceptional and versatile performer. She has performed internationally for choreographers such as Peter Bingham/EDAM Dance, Lee Su Feh, Judith Marcuse, Susan Elliott, Jennifer Mascall, Olivia Thorvaldson and Shannon McMurchy (Vancouver); Lingo Dance Theatre, Amii Legendre and TURF (Seattle); Kaeja d’Dance (Toronto); Jose Navas, Par Bleux, Isabelle VanGrimde, Andrew Harwood, Jane Mappin, Emmanuel Jouthe, Jordi Ventura, Gioconda Barbuto, Roger Sinha and Dave St. Pierre (Montreal).

Chanti is also a self-taught interdisciplinary creator working with dance, video and text, often in poetic installations. Her interdisciplinary works, 23 Experimental Edits (2002), Palmpilot (2002), betweenlines (2004), and Save Project As: unrehearsed phases of A Beoming Human (2003) were presented by Shared Habitat: Festival of Art, Science and the Environment (Toronto), Square Zero Independent Dance (Ottawa), Festival of New Dance (NFLD), Projet/Projo and the HomeShow (Montreal). Her choreographies, lesser things (1999), and Approved Privacy Statement (2001) were presented by Tanec Praha (Czech Republic), The Vancouver East Cultural Center, DanceArts Vancouver, and EDAM Dance; most recently [we]: fieldnotes from the bardo was presented by Tangente (2005). Chanti is currently dancing for Compagnie Flak and was recently invited to work as assistant choreographer on the new creation of Ginette Laurin’s at O Vertigo.

= External Links =

[http://www.accesasie.com/en/docs/press_kits/thru_des_racines_et_des_ailes_02.pdf Biography]

Miki Nishida

2010-11-24T16:58:22Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by David Mason

{{AAType
|Image=Miki_Nishida_Zenprairie_Danse.jpg
|Arts=Dance, Visual Arts
|Location=Montréal
|Type=Person
}}
Miki Nishida is a Montreal based choreographer, performer, costume designer and videographer. She started dancing in religious summer dance circles in Osaka, Japan. After graduating from the Japan Health & Sports Academy in Kyoto, she worked for local dance company Hamaguchi Contemporary Dance as a dancer, teacher and choreographer. To complete her choreographic training, Miki attended the Concordia University Dance Program graduating in 2002.

Miki started dancing in religious summer dance circles in Osaka, Japan. Since then her passion for dance has grown. After graduating from the Japan Health & Sports Academy in Kyoto, she worked for local dance company Hamaguchi Contemporary Dance as a dancer, teacher and choreographer. Miki came to Canada in 1996. Since her arrival here she has worked with Robin Poitras (New Dance Horizons) and Michael Toppings in Regina, Saskatchewan. To complete her choreographic training Miki attended the Concordia University Dance Program graduating in 2002. Specializing in multimedia performances in university, Miki created several dance and video pieces including Portrait (2001), A Coyote Story (2001) and End of Sequence (2002) will be shown 14th Quinzena de Dança de Almada-Contemporary Dance Festival in November.

= External Links =

[http://www.danceumbrella.net/SooRyu.htm Dance Umbrella of Ontario]

Contribute

2010-11-24T16:58:20Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Diana dai

{{Langues}}

Keep in mind the site will be under constant development. Wikis require a bit of learning to get started, but with a bit of dedication, you can take part by editing pages, adding categories, and so on here and on other wikis. We'll stay on top of changes to make information easy to find.

== How do I create pages? ==

There are three ways to add pages. The first two involve forms, the third is standard wiki pages. Remember when adding pages, '''every page must have a unique name.''' So don't call your event "Dance party," call it "Central Calgary Dance Party Spring 2012." If you see someone else's data on a form you're editing, start again with a unique name.

=== Add an entry ===

Add an entry. This could be an artist, group, organization or anything else Asian Canadian.

{{Artist entry guidance}}

{{#forminput:AAType}}

==== Entry categories ====

Entries use categories, which are linked to each other to show up in the appropriate input box. For example, [[:Category:Dance|Dance]] is a subcategory of [[:Category:Arts|Arts]]. To add a new category, use the [[Special:CreateCategory|CreateCategory]] page, making sure to select the appropriate parent category — Arts or Aspects.

See also [[#Why_and_how_do_I_create_categories.3F|Why and how do I create categories?]]

=== Add an event ===

You can add events directly from an artist page, in which case that artist will be already added.

Or from here, add an event.

{{Event entry guidance}}

{{#forminput:Event}}

=== Adding wiki pages ===

To add a simple Wiki page, you can either create a link to it from another page (see [[Help:Editing]]) or enter it's name in the search box, hit enter, then click on the link to create the new page. Don't forget to add your page to a category or link to it from relevant places so it can be found.

Keep in mind you can view how any page was created by clicking its Edit or Show source link.

=== Adding media (images, documents, etc) ===

It's a little more complicated, but the same process once you get the hang of it. When logged in, you'll see a link to [[Special:Upload|Upload file]] on the left menu. Click that link, upload your media, and make a note of its file name. If it's called My picture.png, you can include it in any document with this syntax: <nowiki>[[File:My picture.png]]</nowiki>. Note files must also have unique names. When uploading pictures, it's best to use the [http://www.mediawiki.org/wiki/Help:Images Image syntax], which also lets you control layout and size. If you're editing an artist, you can upload a representative image using the form.

=== Deleting a page ===

Wikis pages aren't normally fully deleted. Instead, move the page, using the drop-down menu item, or equivalently change it to a redirect by changing it's contents like this: <nowiki>#REDIRECT [[New page]]</nowiki>

== Why and how do I create categories? ==

You can create your own categories as appropriate to add different dimensions to pages. A page may not just about an artist, it may also be about an artisan instrument maker, someone who immigrated to Canada, and so on. When added to a category, pages becomes part of a new category list. This page is part of [[:Category:Wiki documentation]], artist pages are in categories according to art, location, and so on.

Add the wiki markup to the page that belongs in the category. For example, <nowiki>[[Category:My category]]</nowiki>. That will become a link that lists all pages in that category, including the one you're editing.

Categories can be reused. You don't need to add a new set of locations to a category about a topic, since categories can be joined in queries — Asian Heritage Month and Location categories, using [[#Using ask queries|Ask queries]], for example.

You can add text to category pages as an introduction. Categories can be made sub-categories of other categories. Just add the parent category to the category page. You need to add your categories to specific categories to add them to the tags available when editing artists. See [[#Entry_categories]].

You can list all categories on the site using [[Special:Categories|this page]].

== Copying content from other sites ==

{{Copying Content}}

== Using ask queries ==

Since this is a semantic wiki, you can re-use content across the site using ask queries. Here's an example:

<nowiki>{{ #ask: [[Category:Montréal]][[Category:Literature]] }}</nowiki>

Will list all the Montréal Literature artists, like this:

{{ #ask: [[Category:Montréal]]|[[Category:Literature]] }}

Advanced options include adding information, and special views like maps and timelines.

You can use these facilities in your own pages to create output that updates itself.

For more help, see [[Structured wiki help|structured wiki help]].

== How is content featured on the front page ==

Any Person or Group that has an image will be featured. Click on the image to go to that entry.

== ZoneAlarm problems ==

<blockquote>
There is a Zone Alarm (Antivirus&Firewall) window that pops up saying that the website is suspicious, I tried to copy/paste it but didn't work. The alert also says to avoid entering sensitive data. The pop up window does not detail anything else but it does have an icon that we can click on to stop the warning, if we trust the site is safe.
There are no other details from Zone Alarm saying why the site is suspicious.
</blockquote>

— Contacted Zone Alarm support staff June 2, 2010. Response — "I will go ahead and send that site to our development group, I was able to get there without any issues," ticket ID LTK164019794485X.

[[Category:Wiki documentation]]

Wen Wei Dance Society

2010-11-24T16:58:18Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Xifeng

{{AAType
|Image=Wen-Wei.jpg
|Home page=http://www.wenweidance.ca/
|Location=Vancouver
|Arts=Dance
|Type=Group, Person
|Aspects=Developer
}}

== Wen Wei Dance ==

Wen Wei Wang was born in mainland China, where he trained and performed as a professional dancer. He subsequently spent 12 years in Canada as a professional dancer, teacher and choreographer before forming Wen Wei Dance in 2003. Wen Wei Dance offers a fresh voice in dance, one that is inspired by the evolving Canadian cultural context, which is made up of many experiences from many cultures. The company has presented Wen Wei Wang’s full length-work, Tao (2003), at the Firehall Arts Theatre in Vancouver in 2003 and 2004, and in 3 cities in Colombia, South America during the 7th Temporada Internacional de Danza Contemporanea Colombia in September 2004. Wen Wei Wang's most recent work, the solo One Man's... was featured at the Vancouver International Dance Festival in March 2005. Wen Wei Wang has just received a commission from the CanDance Network to create and tour a new work for six dancers that will premiere at the Canada Dance Festival in June 2006, and tour across Canada in Fall 2006.

== Choreographer ==

Wen Wei Wang danced professionally in China before coming to Canada in 1991. Since then he has performed with several Canadian companies including Judith Marcuse Dance Projects and Ballet British Columbia in Vancouver. He has choreographed more than twenty works for various groups and companies, including Arts Umbrella Youth Dance Company, Banff Festival Ballet, Goh Ballet Company, Dancers Dancing, Ballet Jörgen Canada and Alberta Ballet. In 2000 Wen Wei Wang received the prestigious Clifford E. Lee Award for excellence in choreography.

{{From|http://www.canadacouncil.ca/development/danceontour/companies/kz127488180425197500.htm}}

User talk:David Mason

2010-11-24T16:58:16Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Janet Lumb

Can we hyperlink our team@asiancanadianwiki.org
on our profile page and elsewhere to easily connect with the team?
Please see our wiki profile under who are we.

Paul Kariya

2010-11-24T16:58:15Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by Rparungao

{{AAType
|Image=Kariya.jpg
|Home page=http://en.wikipedia.org/wiki/Paul_Kariya
|Location=Vancouver
|Type=Person, Sports
}}
Paul Tetsuhiko Kariya (pronounced /kəˈriːə/; born October 16, 1974 in Vancouver, British Columbia) is a Canadian professional ice hockey player.

==Playing Career==

Paul Kariya scored 91 goals and 153 assists for 244 points in 94 games for the Penticton Panthers of the British Columbia Junior Hockey League. He was the first freshman to win the Hobey Baker Award, notching 33 goals and 91 assists for 124 points in 51 games, helping the University of Maine to a 42–1–2 record, and the 1992–93 NCAA and Hockey East titles in his only full season. His younger brother, Steve, captained Maine to the 1998–99 NCAA title and later played briefly in the NHL. His younger sister, Noriko, is a professional boxer and his youngest brother, Martin, helped Maine get to the 2002 "Frozen Four" finals.

He was picked by the Mighty Ducks of Anaheim fourth-overall in the 1993 NHL Entry Draft.[1] Kariya played for Anaheim for nine seasons and served as team captain for seven seasons.[2] His best season statistically so far is 1995–96, scoring 50 goals and 58 assists for 108 points. When Anaheim traded for Teemu Selanne with the Winnipeg Jets, Kariya was placed on a line with Selanne, and Steve Rucchin. The combinition of Kariya and Selanne became a lethal force against their opponents becoming one of the best duos in the NHL.

In 2003, he and the Ducks reached their first Stanley Cup Finals.[3] Kariya was third on the team in playoff scoring (behind Adam Oates and Petr Sýkora), scoring six goals and adding six assists. However he will best be remembered for a dramatic moment. During the second period in Game 6, Kariya took a hard check from the New Jersey Devils' Scott Stevens and lay on the ice for several minutes. He went to the locker room, but returned and 11 minutes later scored a goal to give the Ducks a 4–1 lead. Anaheim would win the game 5–2, but lose the series in seven games. Many felt Kariya's equipment changes following his first concussion may have saved him from being rendered unconscious from the Stevens hit.[4]

At a team rally following the Ducks' game seven loss to the Devils, Kariya promised to bring the Cup to Anaheim in 2004. A verbal agreement with then-GM Bryan Murray was broken by Kariya after his $10 million-per-year contract was not qualified. Murray intended to re-sign Kariya at a lower amount (believed to be in the $6–7 million range, to which Kariya had verbally agreed) and use the extra money to find the final piece to the Cup puzzle via free agency. Instead, Kariya took an $8.8 million paycut, ensuring himself unrestricted free agency at season's end, when he and former Ducks teammate Teemu Selanne signed with the Colorado Avalanche on July 3, 2003.[5] He believed he had a better chance at winning a Cup on the Avalanche. Kariya played in only 56 games and one playoff game that season for Colorado due to injuries, recording only 36 points.

After the season, Kariya signed a two-year contract with the Nashville Predators as an unrestricted free agent.[6] In his first season with the Predators in 2005–06, Kariya tallied 31 goals and 54 assists, accumulating his most points since the 1999–2000 campaign. Kariya played in all 82 games, joining Dan Hamhuis as the only Predators to do so. On April 18, 2006 , the last day of the regular season, Kariya scored a hat trick against the Detroit Red Wings in a 6–3 win. Kariya finished the year fourth in the NHL in shootout scoring percentage, converting on five of seven attempts. On November 1, 2006, Kariya reached the 800-point milestone against the Edmonton Oilers.

On July 1, 2007, Kariya signed a three-year contract worth $18 million with the St. Louis Blues.[7] Kariya was assigned as one of the alternate captains of the Blues organization. He, along with Keith Tkachuk, and Barret Jackman rotated the position throughout the 2008–09 season. In November, he was sidelined with an injury to his left hip. After undergoing surgery, it was discovered that he needed surgery on his right hip.[8] He returned in the 2009–10 season, scoring two goals in his first game. On March 18, 2010, Kariya scored the 400th goal of his NHL career, against the New York Rangers.[9]
[edit] International career

Kariya has played in three Olympics for the Canadian team. He failed to score as Canada's last shooter in a shootout against Sweden in the 1994 Olympic Gold Medal game, but he helped Canada win gold in the 2002 Winter Olympics. Kariya missed the 1998 Winter Olympics due to a concussion suffered from an on-ice crosscheck by Gary Suter.

==Awards==

* World Junior Championships All-Star Team - 1992
* NCAA Hockey East First All-Star Team - 1993
* NCAA Championship Title
* Hobey Baker Memorial Award - 1993
* World Championships All-Star Team - 1994, 1996
* Lady Byng Memorial Trophy - 1996, 1997
* Played in NHL All-Star Game - 1996, 1997, 1999, 2000, 2002, 2003
* NHL First All-Star Team - 1996, 1997, 1999
* Puck Control Competition Champion 1999, 2000
* NHL Second All-Star Team - 2000, 2003
* Olympic Gold medal for Men's Ice Hockey (2002)

==Records==

* Longest serving captain in Anaheim Ducks history, 8 years (1996-2003)
* Most Puck Control Relay wins (4) at NHL All-Star Competition 1999, 2000, 2001, 2002
* Nashville Predators franchise record for assists in a season, 54 (2005–06)
* Nashville Predators franchise record for points in a season, 85 (2005–06)

{{From wp|http://en.wikipedia.org/wiki/Paul_Kariya}}

Steve Kariya

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{{AAType
|Image=Steve kariya.JPG
|Home page=http://en.wikipedia.org/wiki/Steve_Kariya
|Location=Vancouver
|Type=Person, Sports
}}

Steven Tetsuo Kariya (born December 22, 1977) is a professional ice hockey forward, currently playing for JYP in SM-liiga. He is one of Paul Kariya's younger brothers.

==Playing career==

Like Paul, Steve led the University of Maine Black Bears to the NCAA title (in 1999); unlike Paul, however, he has had a rocky career[citation needed] . Having played several seasons of pro hockey in North America, including for the Vancouver Canucks, Kariya went to the Finnish SM-liiga after the 2003–04 season.

During the 2004–05 season, he played for Ilves in the Finnish SM-liiga. He led the league in scoring during the regular season, earning the Veli-Pekka Ketola trophy. Kariya spent the following season with the Blues, then spent two years with Frölunda HC in Sweden before returning to Finland and HPK in 2008.

Kariya's sister Noriko is a professional boxer, and his brother Martin is also a professional hockey player. Steve and Martin Kariya are the first and only brothers to have won the Veli-Pekka Ketola trophy.

==Awards==

* NCAA Hockey East All-Rookie in 1996.
* Awarded the NCAA Hockey East Sportsmanship Award in 1997, 1998 and 1999.
* Named to the NCAA All-America First Team in 1999.
* Named to the NCAA All-Star Team Hockey East in 1999.
* NCAA Champion with University of Maine in 1999.
* Awarded the Veli-Pekka Ketola trophy (Most points in SM-liiga) in 2005.

{{From wp|http://en.wikipedia.org/wiki/Steve_Kariya}}

Talk:Meena Murugesan

2010-11-24T16:58:12Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by 213.5.71.159

Hello. And Bye. With best regards, ogasucowiki. This is a full base

User talk:Asian Canadian Wiki

2010-11-24T16:58:11Z

WikiSysop: Reverted edits by Agunuzikud (talk) to last revision by David Mason

Add comments here, sign them with <nowiki>~~~~</nowiki>.

User talk:Janet Lumb

2010-11-24T16:58:09Z

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Hi Janet. [[User:David Mason|David Mason]] 09:27, August 5, 2010 (EDT)

Meena Murugesan

2010-11-24T16:58:08Z

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{{AAType
|Image=Meenaakshi_Productions.jpg
|Home page=http://www.meenakshi.ca/
|Location=Montréal
|Arts=Dance, Visual Arts
|Type=Person
}}
Meena is a dancer and filmmaker dedicated to creating sacred spaces. Through her art, she seeks to bridge barriers between culture, gender, community, class and form in order to explore the differences that separate/unite us and find the essence that binds us together. Her experience in training and performing 'Bharatha Natyam' - a south Indian dance form (25 years), film (10 years) and eastern energetic bodywork therapies (3 years), inspire her to find the spaces where these forums meet and have the power to raise consciousness. Meena has been fortunate to collaborate with remarkable artists, storytellers, dancers, musicians and activists in Canada, the United States, India, West Africa, Chile and Brazil.

Meena's multi-disciplinary artistic practice is fuelled by her passion for dance, visual imagery, personal transformation and social change. Through art, she creates, shares and encourages the expression of under-represented stories with the hope of re-balancing existing power dynamics within society. She strives to build bridges between culture, gender, community, class and art forms in order to explore the complexities of human existence, while acknowledging the intrinsic connections that link us together. Meena's hybrid choreographic vision stems from twenty-two years of training and performing the South Indian classical dance form Bharatha Natyam, two years of studying with contemporary African dance pioneer Zab Maboungou, a decade of creating visual imagery and five years of training in eastern energetic bodywork therapy. Her ongoing practice of Chi Kung, Shiatsu and Chi Nei Tsang continues to spark her quest to free the body/mind beyond the limitations of cultural codes and social expectations. Meena's desire to work and choreograph with movement in ways that fall outside the classical Bharatha Natyam form comes from a sincere need to express the complex realities of her modern urban experience. In addition, structured improvisation is an essential part of Meena's work as it allows her to draw upon the authenticity and magic that exists in the present moment.

She has developed this craft for the past five years, performing improvised Indo-contemporary dance works with remarkable live musicians and spoken word poets such as Bell Orchestre, LAL, Kalmunity Vibe Collective, Jason ‘Blackbird’ Selman, and Kamala Sundararajan. Until 2000, Meena toured internationally with the Nrithyalaya Dance Company under artistic director Vasantha Krishnan. In addition to more than a dozen improvised dance works, her choreographic repertoire includes: home/Body (2009, 40-minutes), AVAL (2008, 26-minutes), Unravelled (2006, 50-minutes) and Ekatva (2006, 15-minutes). Since 2004, Meena has performed her original choreographies and improvisational works in Canada, New York City, Niger, Chile and Brazil. Parallel to her dance career, Meena is a video artist and community arts educator with eight years of local and international experience collaborating with performing artists and marginalized groups such as youth, people of color and incarcerated women. She facilitates video and dance workshops in socio-political-cultural community organizations and is deeply inspired by the people who share these spaces. Currently, Meena is performing AVAL and developing two new choreographic works. She has also recently co-founded root*system with Anastasia Culurides and Pohanna Pyne Feinberg, a inter-disciplinary live arts ensemble that interplays elements of music, dance, video, lighting design, photography and soundscape to express the beauty, the tragedy and the surprises of life into tangible and multi-sensory experiences.

= External Links =

[http://www.myspace.com/meenaakshi MySpace Page]

Tiger Princess Dance Projects

2010-11-24T16:58:04Z

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{{AAType
|Image=Princesslogo.jpg
|Home page=http://www.princessproductions.ca
|Location=Ottawa, Toronto
|Arts=Dance
|Type=Group, Person
|Aspects=Developer
}}

== About ==

Princess productions - yvonne ng,
artistic director, founder, choreographer, performer, educator

Born in Singapore, of Peranakan Chinese descent, Yvonne Ng came to Canada to get a sensible degree in the hospitality industry, but following her heart she left university on the Dean's list with an honours degree in Fine Arts, Dance. After a decade of dancing for Canada's best choreographers, Ng has created several choreographic works as commissions or for her company, tiger princess dance projects. Yvonne's current focus is on creating discrete movement as symbols as opposed to choreographic vocabulary. Writers describe her work as ravishing, paradoxical, immediate and hard-edged, like painful memory.

From a tutu to army boots
Born in Singapore of Peranakan Chinese descent, Ng began her training with Madam Goh Soo Khim at the Singapore Ballet Academy. Even before completing her BFA at York University, she had co-founded the dance company, Dance Allegro and was in demand in the Toronto's contemporary dance community. After a year in the Danny Grossman Dance Company, she left to work with choreographers such as Bill James, José Navas, Marie-Josée Chartier, and Peter Chin. Her commissioned choreography and performance have earned her eight Dora Mavor Moore nominations and taken her to Australia, Singapore, across Canada and the USA.

The Choreographer
Marking the start of her transition from a performer to choreographer, Ng traveled to Beijing to train and research Chinese traditional and minority dance forms, plus to study Arabic singing at the Beijing Dance Academy and Central University for Nationalities in 1996. Her most renowned early work, a solo called Blue Jade (1998) used choreography that was created on a vertical plane then translated to the horizontal with the dancer's hips never leaving the floor.

The Art of the Constrained
The trio, Cypress in 2002 was Ng's first group work that constructed the choreography in an open studio and then later set constraints on the movement that gave rise to new movement and architectures of bodies. Paula Citron of The Globe & Mail described the choreography as a weight bearing entanglement that gives rise to arresting images. In Garam Shift, 2003, Ng used physical exhaustion as the constraint and in Serpentine Garden: another love story, created for Dusk Dances 2003, she devised costumes hooked to clotheslines for the two dancers.

Collection
2003 also marked the start of Collection, a series of choreographic self-portraits choreographed and performed (primarily) by Ng.
Collection #1: xiao bai chuan (2003) featured the music and performance of Lee Pui Ming and received rare rave reviews with the Toronto media and when it was performed in Halifax, Andrea Nemetz of the Chronicle Herald led off with "It was as if time stood still during Yvonne Ng's engrossing performance in the Dunn Theatre."
Collection #2: VoyAge (2004) is a meditation on the extent to which our personal history holds us. The set and installation consists of approximately 100 pairs of Ng's shoes laid out in a labyrinth. Collection #2 features an improvised score for cello and voice by Anne Bourne and has been performed in Toronto & New York.
Collection #3: Headdress (2004) takes its name and inspiration from a Chinese opera headdress that is festooned with the flotsam of life. It has been performed in Toronto and Newfoundland and is in development for a film project.
Collection #4: InVitation (2004) is the most casual work in this series. It has been performed at several venues across Canada and is a crowd favourite.
Collection #5: Strings Attached (2007) was shown at the Halbritter Center for the Performing Arts in Pennsylvania, USA and was most recently performed at Toronto's Nuit Blanche. A 200kg aluminum frame and 100m of cable forms a web.
Collection #6: 11:07 (2007) looks to the future. The frailty of aged skin is represented by a delicate paper costume which is slowly shed in a ritualized choreography.
Trailer (2007) is a haiku of the six solos. It takes aspects of each of the previous choreographies and remixed them into something unique.
The Larger Works
With the commission for the Toronto Dance Theatre, Ng's desire to choreograph on a larger group was realized. In 2004, Batulang was created on eight dancers and featured at the Four at the Winch show in Toronto. The works that followed were Scarlet's Room: Moss with four dancers from the Arts Fission Company in Singapore and four of Yvonne's Canadian dancers. Scarlet's Room premiered at The Esplanade, Theatres on the Bay's Studio Series in 2005, and reviewers called it muscular, vigorous; a rich tapestry of ideas and eight very good dancers.

For 2006, Ng's Signs, an evening's work was presented at the Harbourfront Theatre, Toronto consisting of two separate but related works, Paper Women & Emerald Lies. The works are for seven women and were inspired by memories of her life as a student in an all-girls Catholic school in Singapore. The seven dancers in Paper Women wear almost sheer, white pleated tunics, with long sleeves. They look innocent and virginal. They flock together happily, chattering as they pick slips of paper from glass containers, their instructions, we are told, for the particular dance steps they will perform in each stage of this piece. Their movements are regimented: they frequently dance in a line moving upstage or downstage as if in a church ceremony or a schoolyard game. The music is a long drone, like an organ playing, overlaid with whispered phrases. Emerald Lies is much more immediate and hard-edged, like painful memory. The same seven women are dressed in lurid colours that shimmer under dramatic lighting. The dancers form an enclosure around one of their number. She's a victim, imprisoned; then, against the richly emotional score, the victim becomes the idol and the enclosure becomes a temple.

Awards and Community
Recipient of the prestigious 2007 Ontario Premier's Emerging Artist Award, 1996 & 2003 Chalmers Performing Arts Training Award, 2003 Chalmers Arts Fellowship, 2003 New Pioneers Arts Award, and the 2002 K.M. Hunter Dance Award. Yvonne Ng's intensity, grace, and mesmerizing presence have made her an unstoppable force on the Canadian and international dance scene.

Ng is an active member of the dance community having served on the board of Directors for the Canadian Alliance of Dance Artists and Dance Umbrella of Ontario. Ng is the Artistic Director of Series 8:08 (since 1994), as well as the curator and presenter of dance: made in canada/fait au canada, both of which focus on career development opportunities for members of the dance community. She recently finished commissioned works for two Canadian universities and a work on the Toronto Dance Theatre in Toronto. Yvonne has recently performed in Dublin, Ireland and in the Canadian cities of Peterborough, Guelph, St. John's, North Bay, Sudbury and Goose Bay.

== Mandate ==

princess productions is an "art making company" and a cutting edge organization that produces quality contemporary dance works combining new music and theatre in an interdisciplinary approach to performance. Established on the belief that a dance artist can work primarily as a performer and drive her own career, princess productions has evolved into a multi-faceted organization that supports founder Yvonne Ng's wide range of artistic activity. Since then, princess productions has become the umbrella organization for Ng's entrepreneurial activities as an artistic director, curator, choreographer, teacher and performer of interdisciplinary and contemporary dance.

princess productions achieves its mission through the following activities:
commissioning, choreographing, presenting and performing works by both Canadian and international choreographers
presenting works by emerging and established Canadian choreographers through the organisation's biennial dance: made in canada/fait au canada festival
employing a range of artists and technicians
providing professional development opportunities for the artists working for the company of tiger princess dance projects
promoting and touring the repertoire of tiger princess dance projects
providing all resources including infrastructure and financial support to tiger princess dance projects and dance: made in canada/fait au canada
The mission of princess productions is
to build Canadian dance legacies through commissioning, producing and presenting contemporary choreography,
to collaborate and experiment with artists from various disciplines, whose unique Canadian perspective reflect Ng's own artistic values, and
to financially and administratively support Ng's full range of artistic activities.
Both the activity of the company and its products break stereotypes. Even the philosophical and organizational structure challenges tradition and prides itself on being able to respond to changing climates and artistic inspirations. princess productions employs a range of artists and technicians to produce and present choreography through its two unique divisions:
tiger princess dance projects - a contemporary dance company directed by Ng
dance made in canada/fait au canada - a biennial festival curated by Ng.

The mandates of princess productions are
to commission and present works by both Canadian and international choreographers for tiger princess dance projects division
to promote and tour the repertoire of tiger princess dance projects
to present works by Canadian choreographers at its biennial dance: made in canada/fait au canada festival division
to provide all resources, including infrastructural and financial, to support its divisions

== History ==

princess productions was founded in 1995 by Yvonne Ng, became a registered sole proprietorship in 1996, incorporated in 1999 and became a registered charity in 2000. Since 1995, princess productions has commissioned, produced and presented over thrity works, including dancefilms. These works have been shown across Canada, in Australia and Singapore and have received critical and commercial acclaim. Five of the works: Language, Treehouse, My past follows like dragon's tail, Stone Velvet and Fading Shadows/Returning Echoes garnered seven Dora Mavor Moore Award nominations for performance and choreography in 1998, 2000 and 2005.

During the first six years of the company's existence, the focus was primarily on the creation of a repertoire commissioned from Canadian choreographers. Now, in the thirteenth year, the focus has migrated to the national and international touring of the repertoire, choreographic creation by the artistic director through tiger princess dance projects and presenting dance: made in canada/fait au canada (d:mic/fac), a bi-annual festival presenting both an established and emerging artists on the same platform. This Toronto based festival is curated by Yvonne Ng and princess productions becomes the technical, administrative and financial vehicle for the artists. Please see the attached list of the company's past and present activities for more detail.

1996

Ng receives first Chalmers Arts Training Award and travels to China for research at the Beijing Dance Academy and the University of National Minorities.

Dancefilm, Into a Dinosaur, choreographed and directed by Ng, is presented at Moving Pictures Festival. princess productions commissions solo for Ng, Earthquake, from Tama Soble.

1997

Performs commissioned works by Peter Chin, Jos￩ Navas, Maxine Heppner and Kim Frank in DanceWorks Mainstage Series.

Forms ch'a performance quartet of Susan Lee, Bonnie Kim, Andrea Nann and Yvonne Ng.

1998

Ng performs Blue Jade, a solo at Tangente in Montreal.

ch'a performs the commissioned quartet STORK, from choreographer Holly Small at DanceWorks Mainstage Series.

1999

Presents a program of solo works at Dancemakers Studio (Toronto), including the preview of Marie-Jos￩e Chartier's quicksilver. The program tours Australia and Singapore.

Produces and manages ch'a performance and teaching workshop tour to Montreal & Vancouver as part of the Asian Heritage Month.

Produces Les espaces enchanteurs by Bill James, a work commissioned by princess productions for ch'a and presented at Art in Open Spaces.

Brocaded Clouds: a love story, choreography by Yvonne Ng, Dusk Dances, Toronto

2000

Performs Les espaces enchanteurs, Brocaded Clouds: a love story and quicksilver, Canada Dance Festival

Brocaded Clouds: a love story, choreography by Yvonne Ng, Dusk Dances, Toronto

Brocaded Clouds: a love story, choreography by Yvonne Ng, Dancing on the Edge, Vancouver

2001

Premiere of garam shift, choreography by Yvonne Ng, DanceWorks Mainstage Series, April

Commissions one duet each from Tedd Robinson and Kathleen Rea.

princess productions produces and presents Stone Velvet - an evening of duets and solos, Artword Theatre, Toronto, July

Tours Stone Velvet and garam shift, The Substation's Dancespace Series, Singapore, August

princess productions brings the eleven-year old Toronto based Moving Pictures, Festival of Dance on Film and Video to Singapore in as an exhibition of Canadian dancefilms.

Inaugurates a new performance series dance: made in canada/fait au canada - DIG with Katherine Duncanson and Susan Lee, Dancemakers' Studio, Toronto, November

2002

Acquires formalized studio space, The Ballroom, on the west side of Toronto. Forms the two-member collective, Dovehouse Dance with Kaeja d'Dance and signs a five-year lease. When not required, The Ballroom is rented to the dance community at market rates and any profit defrays the cost for the collective.

Receives the 2002 K.M. Hunter Award and a second Chalmers Arts Training Award to study Skinner Releasing in Seattle, Washington and Deep Listening with Pauline Oliveros in Big Indian, New York.

Presents second d:mic/fac - I SAW with Marie-Jos￩e Chartier and Kathleen Rea, Dancemakers' Studio, Toronto, October-November. Performance is voted a Top Ten Dance Event in 2002 by the NOW Magazine.

The organization is hand picked by the Equity Office of the Canada Council for the Arts fore Capacity Building funds and as a participant in the Stand Firm Initiative.

Co-produces/presents with Juliet Palmer Cypress, Flotsam & Jetsam, Artword Theatre, Toronto, December

2003

The 2003 CanAsian Dance Festival commissions Ng to create new solo work, Xiao Bai Chuan.

Ng is invited to the Guelph Contemporary Dance Festival and performs the work of Peter Chin for Red Sky's The Dancing Americas and in his own new dancefilm, Streetcar.

Ng receives Chalmers Fellowship Arts Award and New Pioneers Arts Award.

Serpentine Garden: another love story presented at and commissioned by Dusk Dances.

2004

Batulang, choreography by Yvonne Ng, commissioned by Toronto Dance Theatre, Four at the Winch, Toronto

Produces and presents Fading Shadows/Returning Echoes - an evening of duets for Yvonne Ng & Robert Glumbek, choreography by Tedd Robinson, Dominique Dumais and Glumbek, Winchester Street Theatre, Toronto

Presents third d:mic/fac - the Haute Couture season - FLIGHT with Jessica Runge, Winchester Street Theatre, Toronto, May

Premiere of Collection: # 2: VovAge, #3: Headdress, & # 4: InVitation, choreography by Yvonne Ng, Dovehouse Dance Ballroom, Toronto, March

L3R 8G5, choreography by Yvonne Ng, commissioned by Unionville High School, Dance Department
Begins 2-year residency at The Theatre Centre and guest teaches at Willow Academy

Presents fourth d:mic/fac - INKcrossfade2Air with Andrea Nann and Lydia Wagerer (Quebec City), Winchester Street Theatre, Toronto, December

2005

Paper Women - Showing as part of the residency at The Theatre Centre, Toronto, January

Scarlet Moss, choreography by Yvonne Ng, commissioned by York Dance Ensemble, Toronto, March

Presentation and premiere of Scarlet's Room - co-production with The Arts Fission Company at Studio Series, Esplanade Theatres on the Bay, Singapore

Collection: # 2: VovAge, choreography by Yvonne Ng, Dream Festival, Kingston, New York, October

Coyote Builds North Amercia by John Luther Adams, choreography by Yvonne Ng, Open Ears Festival of music and sound, Victoria Park Pavilion, Kitchener, April

2006

Signs: Paper Women & Emerald Lies, choreography by Yvonne Ng, Co-presentation with DanceWorks, Harbourfront Centre Theatre, Toronto, February

Collection: # 1: xiao bai chuan, choreography by Yvonne Ng, Live Arts Production, Halifax, February

Slipping Glimpses, choreography by Yvonne Ng, commissioned by York Dance Ensemble, Accolade Theatre, Toronto, March

Presentation and premiere of Scarlet's Room - co-production with The Arts Fission Company at Winchester Street Theatre, Toronto, July

Presents fifth d:mic/fac - IN(side)tiME with Louis Laberge-Côté and Daniel Bélanger (Quebec City), Winchestre Street Theatre, Toronto, September

Presents sixth d:mic/fac - élémentale with Anik Bouvrette (Ottawa) and Megan Andrews, Winchestre Street Theatre, Toronto, October

Residency in the Theatre Department of Juniata College, Pennsylvania, Fall 2006 - Spring 2007

2007

Awarded the Premiere's Emerging Artist Award, as selected by Peggy Baker upon winning the Premiere's Award for Excellence in the Arts.

Dancemakers Choreographic Lab with work-in-progress showings, choreography by Yvonne Ng, Dancemakers Centre for Creation, Toronto, January/February

Creative Workshop Tour, various schools & studios, Sudbury & North Bay, March

Premiere of Metamorphosis of the solitary female phoenix, choreography by Yvonne Ng, commissioned by Toronto Dance Theatre, Winchester Street Theatre, Toronto, May

Collection #2: VoyAge & Collection #3: Headdress, choreography by Yvonne Ng, Richard Bradshaw Amphitheatre, Toronto, May

Premiere of Keeping the Jade Rabbit company in the Moon Palace, choreography by Yvonne Ng, Guelph Contemporary Dance Festival, Guelph, June

Metamorphosis of the solitary female phoenix, choreography by Yvonne Ng, commissioned by Toronto Dance Theatre, Dim Sum Chinese Festival, Toronto, June

Stone Velvet, choreography by Tedd Robinson, Dublin Fringe Festival, Ireland, September

Collection (series of 6 dances), choreography by Yvonne Ng, Nuit Blanche, Cecil Community Centre, Toronto, September

Workshop instruction at the Creative Arts Festival, Goose Bay, Labrador, November

2008

Performance of a Fading Shadows / Returning Echoes program - an evening of solos and duets by Yvonne Ng, Robert Glumbek, Tedd Robinson and Dominique Dumais, Peterborough New Dance, Market Hall, Peterborough, March

Workshops, classes and rehearsal direction for dance students and performers in Sudbury, March

Stone Velvet, choreography by Tedd Robinson, earthdancers 2008, Sheridan Auditorium, Sudbury, March

Residency in the Theatre Department at Juniata College, Pennsylvania, April

Workshop instruction at the Emergency: Festival of New Dance and Performance, Market Hall, Peterborough, April

Production and performance of Gestures of Necessity - an improvisational program by Yvonne Ng, Marie-Josée Chartier, Anne Bourne, Jennifer Moore and Lee Pui Ming, Winchester Street Theatre, Toronto, April

Metamorphosis of a solitary female phoenix, choreography by Yvonne Ng, CanAsian International Dance Festival, Enwave Theatre, Toronto, April/May

{{From|http://www.princessproductions.ca|http://www.princessproductions.ca/index_html.cfm}}