Anne Flynn

Doolittle, Lisa, Flynn, Anne. (Eds.). (2000). Dancing Bodies, Living Histories: New Writings About Dance and Culture. Banff: Banff Centre Press.
Despite the near universality of dance as an art form, dance studies as an academic discipline is far less commonplace. Dancing Bodies, Living Histories highlights significant new directions in dance studies, showing how dance leaps across disciplinary boundaries and divisions between the academy and cultural practice. Touching upon history, culture studies, film and queer studies, Dancing Bodies, Living Histories links dance to other studies in the humanities and social sciences.
ISBN: 0-920159-69-9, softcover: $18.95

 

 

Resources/Ressources

Kristin Harris

Harris, Kristin. 2002. “Tradition, Tourism and Revival and the Dance Up Event: Or, How Running the Goat Changed Set Dancing in Newfoundland.” Canadian Dance Studies Quarterly/Études canadiennes en danse : publication trimestrielle, (2), 3.
As tourism becomes more and more the mainstay of Newfoundland’s economy, looking at heritage and the role it plays in contemporary society is critical. While some applaud the increase in cultural awareness that increased tourism has brought to the province, others are wary that the trend towards cultural tourism will mean the demise of Newfoundland heritage. By combining traditional steps with new choreography, and placing the dance form squarely in the arena of cultural tourism, Tonya Kearley’s Dance Up event has successfully recontextualized a traditional dance from.
ISSN: 1703-3756

 

 

Harris, Kristin. 2000. “Gendered Movement in Romantic Ballet: An Analysis of Bournonville’s Teresina.” In Lisa Doolittle and Anne Flynn (Eds.), Dancing Bodies, Living Histories: New Writings About Dance and Culture. Banff: Banff Centre Press.
This article, derived from a longer Major Research Paper, examines the nature of the Bournonville aesthetic to pursue the question of the female protagonist, with a primary focus on Napoli and the character of Teresina. Teresina’s place within the narrative and the choreographic structure of the ballet is studied through an analysis of movement and feminist theory. The paper shows how the Bournonville aesthetic is manifest through his representation of gender and how his female characters epitomize the philosophy inherent in the Bournonville tradition.
ISBN: 0-920159-69-9, softcover: $18.95

 

 

Harris, Kristin. 1998. “Appalachian Spring”, “Composers.” In Taryn Benbow-Pfalzgraf (Ed.), International Dictionary of Modern Dance. Chicago: St. James Press.

 

Harris, Kristin. 1998. “Gendered Movement in Romantic Ballet: An Analysis of Teresina in Bournonville’s Napoli.” Unpublished major reasearch paper, Graduate Programme in Dance, York University.
This paper examines the role gender plays in the aesthetic and movement qualities inherent in the choreography of August Bournonville. Through a detailed movement and feminist analysis of Teresina in the ballet Napoli, this paper illustrates how this aesthetic, and indeed Bournonville’s philosophical approach to art and dance, is manifest in Teresina as a Bournonville character.

 

Harris, Kristin. In progress. “Teaching, learning and performing of vernacular dance forms in St. John’s, Newfoundland” (working title). Unpublished Ph.D. dissertation, Department of Folklore, Memorial University of Newfoundland.
This project studies “traditional” dance as it is performed today at public venues in the St. John’s area, such as cultural performances, social clubs and tourist-targeted Newfoundland “times”. Through its examination of vernacular dance as revival, my study explores issues of personal and shared identity, and questions what is being sold as culture. Through an analysis of several case studies, the study explores the intersections of culture and economy in an increasingly tourist-oriented society.

 

 

Resources/Ressources

 

Christine Heath

Heath, Christine. 2000. “Helen Tamiris’ negro spirituals: A reconstruction.” Unpublished major research paper, Graduate Programme in Dance, York University.
Helen Tamiris entered the concert stage in 1927 and began to perform a series of dances referred to as Tamiris’ Negro Spirituals. By 1942 she had created eight Negro Spirituals set to the music of the African-American Spirituals. The eight short dances were combined into one structured performance in 1965 and a score was notated by Lucy Venable in 1967, using Labanotation. This project is a reconstruction on Negro Spirituals from the Labanotation score. A Video of the performance accompanies this paper.

 

 

Resources/Ressources

 

Jay Hirabayashi

Hirabayashi, Jay. 1992. “A New Era for Dance in Vancouver.” In Max Wyman (Ed.), Forum – Old Powers, New Forces. Vancouver: Douglas and McIntyre.
Jay Hirabayashi draws on personal experience to describe the slow coalescing of a creative community in West Coast dance, setting it in the context of his own life as a Japanese Canadian artist working out of a Powell Street address that was once the place to which all “undesirable” Japanese were ordered to report.
ISBN: 1-55054-033-5

 

Resources/Ressources

 

Erin Hurley

Hurley, Erin. 2002. “Carbone 14’s Intelligent and Responsive Body.” Canadian Theatre Review 109 (Winter), 26-31.

 

 

Resources/Ressources

 

Ann Kipling Brown

Kipling Brown, Ann. 2002. “Building a Community of Women Through Dance.” Published Papers of Ways of Knowing In and Through the Body: Diverse Perspectives on Embodiment, 4th Bi-Annual Summer Institute. Toronto: Canadian Association for the Study of Women and Education.

 

Kipling Brown, Ann. 2001. “A Performance Piece: A Conversation With an Arts Educator and a Gallery Director.” Journal of Professional Studies. Regina: University of Regina, Faculty of Education.

Kipling Brown, Ann. 1999. “A Justification for Creative Dance.” The Alberta Journal of Educational Research, XLV (3).

 

Kipling Brown, Ann, Bucek, L., Dils, A., Venable, L. 1998. “Motif Writing and Dance Making for Young Children.” Journal of Health, Physical Education, Recreation and Dance.

 

Kipling Brown, Ann. 1997. “Emerging Cultural Performers: Determined or Chosen paths?”
P
roceedings of the Dance and the Child International Conference. Kuopio, Finland.

 

Kipling Brown, Ann. 1994. “Partnerships in Dance Education: Fanning the Flames.” Conference Papers of Dance and the Child International, 6th Triennial daCi Conference. Macquairie University, Sydney, Australia.

 

Kipling Brown, Ann., Wernikowski, C.M. 1991. “What I Want To Say: The Child Speaks.” Conference Papers of Dance and the Child International Conference.

 

Kipling Brown, Ann., Watkinson, J., Dr. 1990. “The Design of a Procedure to Assess the Reliability of the Laban System of Notation in Recording Movement in Dance.” Proceedings of the 5th International Dance Conference and Second International Congress on Dance Notation.

 

Harris, D.J., Kipling Brown, Ann. 1990. “Research into Language Issues Affecting Communication About Dance in Education and Literature.” Proceedings of the 5th International Dance Conference and the Second International Congress on Movement Notation.

 

Kipling Brown, Ann. 1989. “The Laban System of Notation: Implications for the Dance Teacher.” CAHPER Special Dance Issue.

 

 

Resources/Ressources

Allana Lindgren

 

Books
Lindgren, Allana. In Press.
From Automatism to Modern Dance: Françoise Sullivan with Franziska Boas in New York. Toronto: Dance Collection Danse Press/es.
Françoise Sullivan's desire to discover dance and life beyond the borders of her Montreal home shows that the longing for a "global acceptance of life and its riches" was an Automatist tenet by which she lived. As evidenced in her early choreography, and in her essay, Dance and Hope, in 1946 Sullivan immersed herself in New York's Franziska Boas Dance Group with an open-minded curiosity and desire for self-discovery.
ISBN: 0-929003-54-3, $21.95

 

Articles
Lindgren, Allana. In Progress. “The Politics of Theatrical Dance: The Theory and Practice of Franziska Boas.” Unpublished Ph.D. dissertation, Graduate Centre for Study of Drama, University of Toronto.

 

Lindgren, Allana. In Press. “Françoise Sullivan: An Introduction.” In Selma Odom and Mary Jane Warner, (Eds.). Canadian Dance: Visions and Stories. Toronto: Dance Collection Danse Press/es.

 

Lindgren, Allana. 2001. "'Pointe of Law': The National Ballet of Canada and Kimberly Glasco Legal Arbitration Case.” Proceedings of the Twenty-Fourth Annual Society of Dance History Scholars Conference, Baltimore, Maryland, 21-24 June 2001, pp.63-69. Wisconsin: Society of Dance History Scholars.

 

Lindgren, Allana. 2000. “Kate Alton”, “Dédale”, “Angela Leigh”, “Edna Malone”. In Susan Macpherson (Ed.), Encyclopedia of Theatre Dance in Canada/Encyclopédie de la Danse Théâtrale au Canada. Toronto: Dance Collection Danse Press/es.
ISBN: 0-929003-42-X, softcover $29.95, hardcover $45.00

 

Lindgren, Allana. June 1999. “‘La danse et l’espoir’: Françoise Sullivan and the Québec Automatist Movement.” Proceedings of the Twenty-Second Annual Society of Dance History Scholars Conference, Albuquerque, New Mexico, pp. 155-60. Wisconsin: Society of Dance History Scholars.

 

Lindgren, Allana. 1997. “Opera Atelier's Dido and Aeneas: Baroque Traditions Meet Contemporary Innovations.” Unpublished Master of Arts Thesis in Dance History, Graduate Programme in Dance, York University.

 

 

Resources/Ressources

 

Élaine de Lorimier

De Lorimier, Élaine. 2002. “Eleanor Moore Ashton : La femme et son oeuvre montréalaise.” Dans Iro Valaskakis Tembeck, (Rédactrice) Estivale 2000 Canadian Dance Bodies Then and Now/Les corps dansants d’hier à aujourd’hui au Canada. Toronto: Dance Collection Danse Press/es.
La Montréalaise Eleanor Moore Ashton croit fermement, dès sa tender jeunesse, que les arts, et en partculier la danse classique, aident à vivre, sinon à se dépasser. En ma qualité d’ancienne élève, member du Montreal Ballet et enseignante sous la direction artistique de « Miss Eleanor », j’ai voulu ranimer par l’écriture et la creation d’un document vidéographique, la mission culturelle de cette pionnière de la danse, à partir des années 40, à Montréal. Il s’agit d’une demarche pédagogique originale qu’elle a mise sure pied en milieu parascolaire en utilisant l’art de la danse, d’abord, à des fins artistiques mais ausi humainsantes et parfois même curatives. La « Ashton Method » vise surtout à épanouir culturellement, et ce, dès l’enfance, chaque individu qui s’y engage, avec le souci d’enrichir, par le fait même, la communauté à laquelle il appartient.
ISBN: 0-929003-50-0, softcover $39.95


 

Resources/Ressources