JOB OPPORTUNITY: Office Manager, Dance Umbrella of Ontario

Position: Office Manager
Start Date: August 22nd, 2016
End Date: March 31st, 2017 with a possibility of a 3-month extension.
Region: Toronto, downtown
Term: Full Time, Contract
Application Deadline: August 12, 2016, 6pm

Organization Description

Dance Umbrella of Ontario (DUO) is a not-for-profit provider of management services to Ontario’s dance enterprises. DUO was founded in 1988 by the Arts Councils to support dance enterprises with their administrative and business activities. In addition to providing a suite of tailored and flexible services, DUO strengthens the dance sector by undertaking new strategic and progressive initiatives.

DUO supports dance artists and enterprises in the creation, production and dissemination of their art. Our typical clientele includes: independent artists, small and mid-scale organizations based in Ontario. DUO supports dance artists by providing the best and most appropriate administrative and infrastructure allowing them to grow as they focus more fully on their art. We do not guide the artistic product of clients. DUO is committed to diversity in all of its activities and the enterprises it serves. We envision DUO to be the place where new growth in the sector is fostered. Dance Umbrella of Ontario is the employer for this contract.

Job Description

The selected candidate must have a proactive approach to their work and enjoy customer service relations. The candidate must enjoy working in an atmosphere of collaboration and plays a key role in tenant management and relations. The Office Manager will be responsible for Managing the office including but not limited to all general administration duties, tenant and client requests, coordinating meetings (Google Calendar), and contracting for Hot Desk clients.


  • Administration & Reception for clients, service providers and tenants
  • Responds to a broad range of inquiries from dance professionals via email, telephone and in person; screening and directing inquiries as necessary
  • Processes incoming and outgoing mail
  • Ordering office supplies, and managing office inventory
  • Research for quotes on equipment purchases and rentals
  • Provides administrative support including word processing, data entry, photocopying, executing courier orders and follow up as necessary
  • Keeps company computer files and folders up to date and organized
  • Attend board meetings for the recording and circulation of meeting minutes
  • Acts as primary contact for all DUO Common Room rentals (Hot Desks, Board Room) maintains appropriate records for contracts and invoicing
  • Ensures the smooth operation of office equipment such as printers, photocopier, fax machine, telephone system by monitoring usage and overseeing maintenance
  • Administers the office maintenance contracts (cleaners, security systems, etc.) and manages inventory and ordering of office supplies
  • As required, maintains office calendars and updates staff on significant bookings
  • Maintains the computer back-up systems as determined by operating policies
  • Manages and executes organizational communications including; e-blasts, online blog, and social media. Familiarity with WordPress and Mailchimp an asset
  • Other administrative duties, as assigned by Executive Director


The successful candidate must have an understanding of the customer service relationship and maintain a positive and helpful attitude. Work is during regular office hours Monday to Friday though some overtime is required to attend board meetings. Overtime is paid in lieu time. DUO may choose to extend this contract with further remuneration provided, for the right candidate.

How To Apply:

Please apply with a cover letter and resume as an attachment by email to with “Office Manager” in the subject line. All interested candidates must be registered at Miziwe Biik Aboriginal Employment & Training to be eligible for this position.

Deadline for applications is August 12, 2016 at 6pm. No late or incomplete applications will be considered.

We thank all applicants for their interest in the position however, only those applicants selected for an interview will be contacted.

Dance Umbrella of Ontario of Ontario gratefully acknowledges the support of funding partners Miziwe Biik Aboriginal Employment & Training and Service Canada for their support of this position.

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DUO’s new Manager of Producing and Administration, Caroline Caire!

Headshot Caroline Caire

Caroline Caire is a performing arts manager who has worked for different organizations since 2010 in France, Canada and Switzerland. While she was studying arts management in Toulouse Business School in France, she worked with Théâtre Dijon Bourgogne (a French national drama centre) and Théâtre Odyssud, where she first learned about show production, administration, festivals coordination and communication. She first came to Canada volunteering for various festivals in Montréal, and ended up working as a programming and production coordinator for Zoofest, as well as a project manager at Bite Size Entertainment managing the creative process of promotional campaigns for Juste pour rire, Just For Laughs and Zoofest. Constantly attracted to performing arts of all forms, she was always collaborating with theatre artists, humorists, musicians, circus artists and dancers. She spent the last year in Geneva as an administration and production coordinator for Tutu Production, working closely with Swiss contemporary choreographers and directors such as Marco Berrettini, Marie-Caroline Hominal and Christian Geffroy Schlittler, where she really discovered the joy of collaborating with passionate artists on dance projects.

She is now settled permanently in Toronto, under contract with Dance Umbrella of Ontario as a Manager of Producing and Administration, and is really excited to be on board for this 2016 edition of Dusk Dances!

Caroline Caire est Chargée de Production et d’Administration dans le secteur du spectacle vivant, et a travaillé depuis 2010 pour différentes organisations en France, au Canada et en Suisse. Lorsqu’elle étudiait la gestion des activités culturelles à l’Ecole Supérieure de Commerce de Toulouse en France, elle a travaillé avec le Théâtre Dijon Bourgogne (un Centre Dramatique National français) ainsi que le Théâtre Odyssud, où elle a fait ses premiers pas en production de spectacles, administration, coordination de festivals et communication. Elle est venue pour la première fois au Canada en tant que bénévole sur différents festivals montréalais, et a fini par travailler comme Coordonnatrice de Programmation et de Production pour le festival Zoofest, puis comme Chargée de projet chez Bite Size Entertainment où elle était en charge, entre autres, de coordonner le processus créatif des campagnes promotionnelles de Juste Pour Rire, Just For Laughs et Zoofest. Inéluctablement attirée par les arts vivants sous toutes leurs formes, elle a constamment collaboré avec des artistes de théâtre ou de cirque, des humoristes, des musiciens et des danseurs. Sa dernière expérience en date a été une année passée chez Tutu Production à Genève, en tant que Chargée d’administration et de production auprès de chorégraphes et metteurs en scène suisses tels que Marco Barrettini, Marie-Caroline Hominal et Christian Geffroy Schlittler, où elle a pris un réel plaisir à collaborer étroitement avec des artistes passionnés par leurs projets de danse.
Elle est désormais établie de façon permanente à Toronto, sous contrat avec Dance Umbrella of Ontario, et se réjouit de rejoindre l’équipe et de faire partie de l’aventure pour cette nouvelle édition de Dusk Dances!

Interpose: A Dancer’s Rights Seminar – May 28, 2016


We are thrilled to announce that our #DoItWithDUO contest winner, Thomas Colford, has created his dream dance project; Interpose: A Dancer’s Rights Seminar.

When: May 28th, 2016 at 9pm

Where: The Underground Dance Centre, 220 Richmond Street West, Toronto

Details: A seminar for dancers rights in Toronto, brought to you by the community. The aim is to educate and inform, specifically, commercial and urban dancers on the issues in our dance community and where they stem from. Topics of discussion include the current industry standards, resources available for dance artists, and how we can break down misconceptions as a community.

Formatted in the style of TEDx Talks, each speaker will be given an allotted time to present their information to the audience. Speakers include: Addy Chan, Jon Reid on behalf of Equity Canada, CADA and more to be announced…

Cost: FREE. Refreshments will be provided. All you need to do is show up.

Like Interpose on Facebook HERE. Join the event HERE.

Interpose was developed in partnership with Dance Umbrella of Ontario, Canadian Alliance of Dance Artists, Canadian Actors Equity Association and The Underground Dance Centre.

The #DoItWithDUO Contest Winner is…


Firstly, a huge thank you to everyone who entered our #DoItWithDUO contest. We received fantastic entries, so fantastic in fact, that we decided to select not one, but TWO winners!

The intention of #DoItWithDUO was to encourage artists to realize their dream dance projects and work towards bringing them to life with the support of DUO’s administrative and management services. Whether the project was a performance, tour, training intensive or seminar, all ideas were welcomed.

Congratulations to Lucy Rupert and Thomas Colford on being selected as the #DoItWithDUO contest winners. Learn more about their projects below!



Lucy is the artistic director of Blue Ceiling dance, a dancer, choreographer, theatre performer, arts advocate and writer, a conservationist and a LEGO enthusiast thanks to her son Pablo. With a Double Honours B.A. in Dance and Music from the University of Waterloo and an M.A. in History from the University of Toronto, Lucy’s artistic career embodies research and imagination in order to create intimate, vulnerable and unforgettable performances. Her company values collaboration and individuality and strives to illuminate the language and poetry of science through the potential and attention of the body.

Lucy’s Project: “Animal Vegetable Mineral is an exploration and creation of micro-ecosystems on 7 dancers, rooted in the basic forms of life on earth and staged in an urban forest oasis.”


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Thomas was born on the small island of Cape Breton in Nova Scotia. He relocated to Toronto to start his professional career when he was 16 in June 2012. His hunger for dance and a persistent work ethic has led Thomas to opportunities dancing for artists such as Janet Jackson, Imagine Dragons, Shawn Mendes, Kieza and Walk Off the Earth. Recently, Thomas made his acting debut in Centre Stage 3, premiering in late 2016 on Lifetime. Always valuing quality, care, and excellence in all areas; Thomas shows no signs of slowing down. Irrepressibly pursuing growth as a person and artist, while remembering his Mantra “Made With Purpose”.

Thomas’ Project:The project I’m organizing is a seminar focusing on dancer rights and empowerment, through a series of presentations and invited speakers. The goal being to educate dancers working in the commercial industry on their rights and resources as artists in Toronto.”

By |April 15th, 2016|DUO's News|0 Comments|

DUO is Hiring!


We’re HIRING! Interim Manager, Producing & Administration

Start Date | June 13, 2016

Flat Fee | $6,400 commensurate with experience

Toronto, Canada | Term: Contract June 13 – August 19, 2016

CLICK HERE for the full job description and company information

How to Apply:

Please submit your resume, cover letter and 3 references to:

Only candidates selected for an interview will be contacted. Those selected will be contacted within one week of the submission deadline.





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By |February 19th, 2016|DUO's News|0 Comments|

In Conversation with SummerWorks Dance Series Curator, Amelia Ehrhardt


SummerWorks is divided into various artistic categories. What will the dance series look like this season?

The dance series this year is made up of eleven artists in eight shows, with three double bills and five stand-alone works. There is a pretty interesting wide range in terms of experience in the field with the artists programmed, and one thing I noticed in the curatorial process was the instance of a lot of artists either pushing boundaries, pushing the form, or pushing themselves – it feels exciting to see dance artists working in this way. There are also two dance artists in the Special Presentations series, Aimée Dawn Robinson (who was part of my curation) and Freya Björg Olafson.

How has the presence of dance changed over the years at SummerWorks?

It’s just gotten a lot more present! It’s been involved in the festival for a number of years but in sort of various levels and scales. Last year there was dance all over the place in the festival, but this is the first year dance has its own dedicated series and dance-specific curator. It’s subsequently the first year that the festival can be really responsive and sensitive to the particular needs of the form.

How do you go about picking artists for the SummerWorks dance series?

There was an open-call process that artists submitted to and a couple of artists who I solicited since I knew they were working on something. I read over the open calls with the help of my good friend and colleague Kate Nankervis. Kate was kind of an outside eye and helped me see the blind spots in my understanding, but also helped me just feel comfortable with the choices I was making. It’s the first time I’ve curated something on this scale and something from an open call and it really marked my understanding of how open calls work! I tried to write the requirements for the call as much from my perspective of an artist as possible – ie. what is actually useful in a writing process towards a piece and what is too much busywork? – and I think a lot of the submissions we got were really honest as a result.

What is the scale of dance productions at SummerWorks?

Really various! Since it’s a festival set-up, everything needs to be able to be put up and taken down pretty quickly, so mostly things are not too heavy on tech or set, but we do have some ambitious groups really going for it in this department. Apart from that the scale is pretty variable – Susie Burpee is showing a 20 minute solo with low lights and minimal tech, and Robert Kingsbury is showing a 90 minute piece that has 9 performers and tons of elements.

SummerWorks believes in supporting and cultivating the growth of artists. How does the atmosphere of the festival transcend this mandate?

Last year I participated in SummerWorks as an artist in two capacities, as a performer in Zeesy Powers’ work Common Fate, and as a presenter with a one-off of the series of multidisciplinary performance that I curate, Flowchart. I was marked in the process by how much fun the festival is – it is really ambitious and there are so many artists around, so many shows happening, so many events, it makes for an environment where people are really up for meeting each other and talking about the work. The technical and administrative team at the festival is also really dedicated to making things work as much as possible for all the artists and to changing the format of the festival as the field changes. The team has been really receptive to the different needs of dance versus theatre, and it’s been nice to encounter an institution in a different genre that is so flexible to opening up to the particularities of another discipline.

Do you have any tips for those attending the festival for their first time?

I have the same advice for anyone going to any multi-venue festival for the first time: buy a festival pass, ride a bike, and bring your lunches! A 10 show pass gets you into the whole dance series plus the two dance works in Special Presentations. Blitz on dance and ride around Queen street for ten days in August? Sounds great.

How has working with SummerWorks affected your perspective on art in Toronto?

I am obsessed with arts advocacy and understanding bureaucracy, and working more intimately with an institution than I ever had before has naturally given me some good perspective. I’m pretty familiar with the music and visual art scenes, and with the sprawling DIY culture in Toronto, so familiarizing myself more with both a formal presentation platform and the theatre scene in one go has been quite interesting.


Amelia Ehrhardt






I am an artist, advocacy addict, and frantic organizer. I see curatorial work within my practice as part of a whole and overarching project to work as much as possible in artist-run situations; when I insert myself into contexts that are not artist-run, what can I do to provide that perspective? Sifting through the realm of open-call submissions for people declaring what they do as dance these days was a humbling / educational / useful process that indicated for me the fault lines in how I personally approach dance making.

Dusk Dances 2015 Feature: Festival Director, Sylvie Bouchard

DuskDances2007_BellaDusk Dances is an outdoor dance festival that brings high quality contemporary and traditional dance to public parks. As dusk descends, a theatrical host leads the audience – which invariably includes children, dog walkers and local residents – to eclectic dance pieces that unfold in different areas of the park. Choreographers from various backgrounds are invited to perform a ten-minute piece inspired by the park’s natural environment. Audiences are invited on a pay-what-you-can basis to an innovative site-specific festival, which is not only an artistic event but a social and cultural one as well.

Now in its 21st season, Dusk Dances is bringing entertaining dance works from Canada’s finest dance makers to Vancouver, Peterborough, Hamilton, Toronto, and Pickering. Learn more HERE.

DUO sat down with Festival Director, Sylvie Bouchard, to discuss the history of the festival, its growth over the years, and what we can expect from its 21st season!

1. Dusk Dances has been around for an impressive 21 years, where does the magic lie in the festival for it to come back every year to a growing audience? 

I’d be curious to hear how our audiences would answer this question :). From what I can see, Dusk Dances succeeds in doing what the event was originally incepted to do: to bring dance to new audiences, to make dance more accessible, and to build connections between dance artists and audiences. Being outdoors, in public parks, is the basis of this accessibility. My desire when I first created Dusk Dances was for more people to experience what I know dance to be: a very powerful art form, and to showcase a variety of visions within this art form. We just came back from performing in Vancouver (presented by The Dancing on the Edge Festival) at Portside Park, which is located in the downtown east side. On opening night, I saw a man watching the final piece (Santee Smith’s Kaha:wi) from a bench. The man seemed to be homeless, and I noticed that he was intensely looking at the work. The performers told me that after the show, the man came to them to tell them how amazing their performance was… he was crying.This is why I believe that bringing art outside of the theatre walls is a very important mission.

2. Tell us about the exciting 30 minute work Dusk Dances is introducin gto this years’ festival. What sparked the idea for a lengthier piece?

I was attending a performance of ODD (Ottawa Dance Directive) at the Citadel, a lovely theatre on Parliament and Dundas. One of the pieces on the program was Trembleherd Bells, choreographed by Tedd Robinson. Tedd Robinson’s masterful and powerful choreography marries poetry, intricate movement vocabulary and usually a touch of humour. His work is a delicious journey through beauty, thoughtfulness, vulnerability and wit, which often reminds me of the many facets of our humanness. While watching Trembleherd Bells, I became inspired to present a longer work for Dusk Dances and began thinking about what piece would be suited for this new venture. I chose to present Disconcertante, also choreographed by Tedd Robinson. Disconcertante resembles an unusual garden party, a perfect setting for Dusk Dances. I am so incredibly thrilled to present the craftsmanship of choreographer Tedd Robinson in this year’s event, as well as the superb dancers of Cloud 9. Disconcertante was created for Cloud 9 in 2011, and the piece premiered at the Young Centre for the Performing Arts in 2013.

3. Why did you choose Tedd Robinson’s Disconcertante for the 30-minute work?

I wanted to share Tedd Robinson’s work with the Dusk Dances audiences, he is a treasure of the dance field. I right away imagined the piece outdoor. The length of the piece was perfect. I wanted to showcase the splendid performers of Cloud 9. All of these elements came together perfectly for this first year with this new venture.

4. Along with Marie-Josee Chartier, you have choreographed Photuris Versicolor, which is premiering this season. In brief, what is the storyline, and where did the inspiration come from?

The inspiration for Photuris Versicolor originally started with a costume I saw – which looked nothing like the costumes we have for the piece now. I showed this costume to Marie-Josée and asked her if she would consider creating/performing a duet with me, using this costume as a starting point. I wasn’t sure if this idea would peek her interest, but in one breath she replied: Twin fireflies, separated at birth, find each other again… We both laughed, loved the idea, and felt that this could be a piece well suited for Dusk Dances. This is a very special project for us because Marie-Josée and I have know each other a very long time, but have never danced together.

5. What is unique about this years’ repertoire?

Like every season, the pieces programmed in 2015 will be varied. I have never worked with a theme when programming Dusk Dances, but this year we are very fortunate to present many choreographers who have a long history of creating works: Danny Grossman, Tedd Robinson, Marie-Josée Chartier and Esmeralda Enrique. We also have 5 seasoned performers dancing in Tedd Robinson’s Disconcertante: Karen Kaeja, Claudia Moore, Linnea Swan, Graham McKelvie and Ron Stewart. Many masterful artists who have made, and continue to make, an incredibly rich contribution to the field.

6. As an artist, what drives your creativity on an everyday basis?

I love the process of “making real” what is in someone’s mind – mine or someone else’s. I am curious about how an idea, an image, a concept reveals itself to a creator and why, and then how this idea is researched to be expressed and shared with an audience. I am a very visual person, and I seem to have a love of props, so I am often inspired by items I see. I also dig into my internal thoughts, my personal history, and into world events that I feel affect us all as humans. The magic of what happens in the studio, the constant search, the relationships that are built in this open and vulnerable space, and the extraordinary worlds that are possible on stage all drive me to continue my artistic journey. The constant discovery is what I look for as a performer, a choreographer and a curator, so my artistic side always influences my curatorial vision.

Photo: Mairéad Filgate and Eddie Kastrau in Danny Grossman’s Bella

Register today for the BftA Sponsorship Tutorial Series!


Business for the Arts (BftA) provides easy and affordable online training for artists looking to secure sponsorship. Registration for the next round of the Sponsorship Tutorial Series is now open until June 4, 2015.

Easy-to-follow and fun-to-do, the BftA’s six-part Sponsorship Series will teach you how to strengthen your partnership network and connect with new audiences. There are various membership package options for you to choose from, and once you purchase one, you have unlimited access to the modules.



An exclusive interview with Luminato Artistic Director, Jorn Weisbrodt

2014_12_05_Jorn Weisbrodt Headshot by V. Tony Hauser

During the summer of 2014, DUO ran a series of e-news features highlight performance and art festivals in Toronto. This year, we’re kicking off our e-news series with a in-depth feature on the Luminato Festival. Not on our mailing list? Sign up at

Fom June 19-28, Toronto’s theatres, parks and public spaces will be filled with hundreds of events celebrating theatre, dance, music, literature, food, visual arts, magic, film, and more. Artistic Director, Jorn Weisbrodt, tells us about the exciting transformation the city will undergo in just a couple of weeks!



1. What are you most excited about for Luminato this year?

The sheer scale of some of the projects that we have commissioned and are premiering: Murray Schafer’s epic empire of sound Apocalypsis has 1000 performers on stage under the direction of Lemi Ponifasio, to me one of the great directors and absolute masters of the art of the stage. And then David Byrne’s latest project, Contemporary Color, an all-star concert or almost a pop music festival in one evening with some of the most interesting and hottest names in contemporary music and 350 youths dancing, twirling batons, rifles, spinning flags, and creating acrobatic over the top choreographies. These are two events that will never be seen in Toronto like this again.

2. Apocalypsis will be one of the largest performance events to take place in Toronto. Why did you choose to have this piece remounted at this year’s festival?

I think we could safely call it the largest performance that has ever happened on a stage in Toronto, maybe even in Canada (except for the Olympic ceremonies). To me it is really about the piece and what R. Murray Schafer expresses with it. He says the first part is about the destruction of the universe and the second about the possibility of a new vision. I think we need a new vision for how we live with each other and how we treat the environment. It seems absolutely timely. The first time I listened to an archival radio broadcast from the CBC I had goosebumps. It is some of the strongest contemporary classical music I have heard in a long time. Schafer’s work is about breaking free, breaking the walls of institutions and this piece really exemplifies this. I think it is important that we hear these kind of works and the genius of this Canadian composer.

3. In your opinion, why is Luminato unique from other art & performance festivals in Toronto?

There is no other festival in Toronto as Luminato, actually not in Canada and not even in North America. The scale and the disciplinary diversity are unique. We really try to bring all the arts together. We create adventurous art and ideas in adventurous spaces. We try to do what no one else is doing in the city. And that doesn’t mean that others aren’t doing great things. We put major art such as a video installation by Geoffrey Farmer into public space, we take over the Hearn Generating Station for two days, the first time this venue where you could put the Statue of Liberty upright is being used for a cultural project and open to the public, we create a huge dance/pop music spectacle with armies of young people twirling sabres and flags, we create an urban garden in one of the most urban and greyest spots in Toronto: David Pecaut Square, for everyone to enjoy and have a backyard garden party every day, Toronto’s biggest, you can see 7 Monologues by some of the most interesting artists of todays across many disciplines, from Charlotte Rampling to Daniel McIvor and the magic animated movies by Shary Boyle. It is an explosion of creativity, a current that hopefully sweeps many people away.

4. Tell us a little bit about dance at Luminato this year. How has the presence of dance in the festival evolved over the years?

Dance and music are the oldest art forms known to mankind. I think even cultures that did not have written words had dance, before painting on cave walls, I am sure people danced in front of them. The oldest musical instrument that was found is a flute made of vulture bone which is about 40000 years old. There is almost dance in everything that we do this year at the festival. We are bringing Cuba’s hottest contemporary dance company, Malpaso Dance, to Canada for the first time, Brazil’s most exciting young choreographer Eduardo Fukushima with two solos (google him and watch his videos, it is absolutely mesmerizing, I cannot wait to see him here in Toronto), Contemporary Color is basically a live dance pop video on steroids with 350 youths creating thrilling choreographies that remind you a bit of Holiday on Ice on solid ground to live music by some of the hottest musical acts of today and Lemi Ponifasio who is staging Apocalypsis comes really from dance and movement. So even though some of these you might not necessarily find at a purely dance festival, I think all of these projects heavily come from dance: how do we move, what moves us!

5. What can people expect from this year’s festival?

To see things that one has never seen in this city before and that one will never see in this city again for a long time

6. If someone has never been to Luminato, is there anything they should know going in?

I do not want to create art that needs to be understood. Go and see and feel with your heart first, don’t try to understand something, give yourself over and see what happens with yourself.

I want to seduce people to see things they would normally not get to see, I want people to be more curious, to experience their city in a different kind of way. If you give us one chance, come down to the festival hub, the Garden of Light, at David Pecaut Square. Have some food, listen to some music, let your kids play in the garden, see the amazing artwork by Regina Silveira that will light up the entire cityscape at night, feel at home in Toronto’s largest backyard, think about it as one big garden party, and then maybe venture to other places of the festival and discover your city. Don’t stay at home but go on an adventure!