Selma Odom


Publications Edited
Odom, Selma and Warner, Mary Jane. (Eds.). 1997.
Canadian Dance Studies, Volume 2. Toronto: Graduate Programme in Dance, York University.


Odom, Selma and Warner, Mary Jane. (Eds.). 1994. Canadian Dance Studies, Volume 1. Toronto: Graduate Programme in Dance, York University.


Odom, Selma. (Ed.). 1977. Dance and Film. Museum catalogue. Toronto: Art Gallery of Ontario.


Odom, Selma. (Ed.). 1973-1978. York Dance Review.


Thesis and Dissertation
Odom, Selma. 1991. “Dalcroze Eurhythmics in England: History of an Innovation in Movement and Music Education." Ph.D. University of Surrey, Dance Studies.


Odom, Selma. 1967. “Bildungsanstalt Jaques-Dalcroze: Portrait of an Institution.” M.A. Tufts University, Drama.


Odom, Selma. 2002. “Meeting Suzanne Perrottet.”
American Dalcroze Journal, 28(3), pp.6-8.


Odom, Selma. 2002. “Music and Movement Connections: The Overlapping Careers of Madeleine Boss Lasserre and Saida Gerrard.” In Iro Valaskakis Tembeck, (Ed.) Estivale 2000 Canadian Dance Bodies Then and Now/Les corps dansants d’hier à aujourd’hui au Canada, pp.121-133. Toronto: Dance Collection Danse Press/es.
Two women led the teaching of new European approaches to movement in Toronto. Swiss-born Madeleine Boss Lasserre introduced Dalcroze Eurhythmics, a method of music training based on physical experience, at the Margaret Eaton School in 1925. Two years later she joined the Toronto Conservatory of Music, later the Royal Conservatory of Music, where she taught for fifty years. Toronto-born Saida Gerrard, one of her earliest students, went on to study dance with Hanya Holm at the newly opened Mary Wigman School in New York. She returned frequently to choreograph and perform, most notably for the Promenade Symphony Concerts, and she taught children, adults and professionals at her Tornto Studio of Modern Dance between 1934 and 1936.
ISBN: 0-929003-50-0, softcover $39.95


Bowring, Amy, and Odom, Selma. 2002. “Dance and the Media.” Canadian Encyclopedia, 2002 ed. (revised from 1998 version published by McClelland and Stewart). Kathryn Chase Merrett, Dance Editor. Toronto: Historica Foundation.
The art of dance has embraced the mass media that permeate Canadian culture. While nothing can replace the impact of a live performance, the marriage of dance and media has increased exposure to this elusive performing art. Film and television have greatly expanded the dance audience and led to the new art form of dancefilms, while video and computer technology are aiding in dance creation and preservation.


Odom, Selma. 2001. “Mary Wood Hinman.” Women Building Chicago 1790-1990: A Biographical Dictionary. Bloomington: Indiana University Press.


Odom, Selma. 2000. “Saida Gerrard.” 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


Odom, Selma. Fall 1999. “On Location in Hellerau.” American Dalcroze Journal 26, pp. 6-7.


Odom, Selma. Summer 1999. “Traces of a Dalcroze Career.” American Dalcroze Journal 25(3), pp. 8-9.


Odom, Selma. 1998. “Dalcroze’s Dutch Collaborators.” Dance in The Netherlands 1600-2000. New Directions in Historical and Methodological Research, April 16-18, 1998, pp. 65-73. Amsterdam, Theater Instituut Nederland.


Odom, Selma. 1998. “Emile Jaques-Dalcroze.” International Encyclopedia of Dance. New York: Oxford University Press.


Odom, Selma. 1998. “Mary Wood Hinman.” International Encyclopedia of Dance. New York: Oxford University Press.


Odom, Selma. Winter/Spring 1998/1999. “Writing About Improvisation.” American Dalcroze Journal 25(2), p. 7.


Odom, Selma. 1997. “Cultivating Musicianship -- Karin Greenhead.” In the York Dance Newsletter, American Dalcroze Journal and Dalcroze Society Newsletter (U.K.).


Odom, S. 1997. "Dance on Television and Film." Canadian Encyclopedia Plus. Toronto: McClelland and Stewart.


Odom, Selma. 1997. “Dancing.” World Book 1997 Multimedia Encyclopedia. Atlanta: IBM.


Odom, Selma. 1996. “Technology in Scholarly Presentations: Navigation and Interaction.” Proceedings of the Society of Dance History Scholars Conference, June 13-16, 1996, 151-155. University of Minnesota.


Odom, Selma. 1995. “Dalcroze Eurhythmics as an Oral Tradition.” La Memòria de la dansa, pp. 31-38. Barcelona, Association Européenne des Historiens de la Danse.


Odom, Selma. 1994. “Designing Theme Courses.” Proceedings of the Society of Dance History Scholars Conference, Feb. 10-13, 1994, pp. 347-354. Brigham Young University.


Odom, Selma. 1993. “In Search of the Dalcroze History of Hellerau.” In R. Ring (Ed.), Hellerau 1992 Symposion, pp. 41-54. Remscheid and Geneva.


Odom, Selma. 1992. “Choreographing Orpheus: Hellerau 1913 and Warwick 1991.” Dance Reconstructed Conference Proceedings, Oct. 15-16, 1992, pp. 127-36. Rutgers University and Society of Dance History Scholars.


Odom, Selma. 1992. “Dalcroze Eurhythmics.” Encyclopedia of Music in Canada. Toronto: University of Toronto Press.


Odom, Selma. 1992. “Nijinsky à Hellerau.” In F. Stanciu-Reiss (Ed.), Écrits sur Nijinsky, pp. 67-77. Paris: Editions Chiron.


Odom, Selma. Autumn 1992. “What is Dalcrozian?” Dance Research 10(2), pp. 121-131.


Odom, Selma. January 1991. “Walking in the Elysian Fields. Notes on Choreography for Gluck's Orpheus and Eurydice based on the Staging by Adolphe Appia and Emile Jaques-Dalcroze at Hellerau, Germany in 1913.” Coventry: Warwick University Arts Centre.


Odom, Selma. 1990. “Mouvement du corps dans l'enseignement d'Emile Jaques-Dalcroze.” In J. Pidoux (Ed.), La Danse, art du XXème siècle, pp. 124-137. Lausanne: Payot.


Odom, Selma. 1987. “Geschichte zum Leben Erwecht.” Jahrbuch Ballett.


Odom, Selma, (Ed.) 1987. “Jaques-Dalcroze.” Encyclopedia of World Biography.


Odom, Selma. 1987. “Sharing the Dances of Many People: The Teaching Work of Mary Wood Hinman.” Proceedings of the Society of Dance History Scholars Tenth Annual Conference, Feb. 1987, pp. 64-74. University of California Irvine.


Odom, Selma. 1986. "Mary Wigman." Ausstellung/Konferenz, Berlin; Symposion Ausdruckstanz, Thurnau, December 1986. Le Rythme, 5, pp. 24-25.

Odom, Selma. Summer 1986. “Wigman at Hellerau.” Ballet Review 14(2), pp. 41-53.


Odom, Selma. Fall 1983. “Chicago, 1913: Eurhythmics Entering American Dance.” American Dalcroze Journal 11(1), pp. 1-6.


Odom, Selma. World Book Encyclopedia articles, 1977-1991: “Dancing,” “Folk Dancing,” “Square Dancing,” “Peter Martins,” “Paul Taylor,” “Merce Cunningham,” “Agnes De Mille,” “Isadora Duncan,” “Katherine Dunham,” “Martha Graham,” “Jerome Robbins.”


Chapman, J., Odom, S. and Strate, G. Spring 1973. "A Conversation on Dance at York." York Dance Review, 1, pp. 14-22.


Odom, Selma. Spring1973. "The New Dance Criticism." York Dance Review, 1, pp. 7-11.




Kaija Pepper


Pepper, Kaija. 2001.
The Dance Teacher: A Biography of Kay Armstrong. Toronto: Dance Collection Danse Press/es.
Kaija Pepper describes the Kay Armstrong of the 1940's and 1950's as an intimate part of the Vancouver landscape and her choreography as being "an expression of the people, the place and the times". This life's work is part of a dance continuity that stretches from the early 20th-century immigrant teachers to the modernists of today. Dozens of professional dancers emerged from Kay's studios but, as Pepper has discovered, it was Kay's choreographic gift that is her legacy. This biography paints an insightful and memorable portrait of the enigmatic Kay Armstrong.
ISBN: 0-929003-43-8, softcover $24.95


Pepper, Kaija. 2000. Theatrical Dance in Vancouver: 1880's-1920's. Toronto: Dance Collection Danse Press/es.
When the Canadian Pacific Railway built Vancouver's Opera House in 1891, the theatrical boom was on for the young city. Mabel Atlantis, "serpentine and butterfly dancer", appeared in 1898. Then came touring productions featuring Loie Fuller, Anna Pavlova, Ruth St. Denis and Ted Shawn, and the only Canadian stop for Diaghileff's Ballets Russes in 1917. By the 1920's, vaudeville acts were prominent and a growing community of Vancouver dancers emerged from schools operated by Mollie Lee, Helen Crewe and Gladys Atree, among others.
ISBN: 0-929003-38-1, softcover $21.00


Pepper, Kaija. 2002. “Lola MacLaughlin: Working the Idea, Revealing the Moment.” In Brian Webb (Ed.)
The Responsive Body: A Language of Contemporary Dance. Banff, Canada: Canada Dance Festival / Banff Centre Press.
ISBN: 0-920159-96-6, $21.95 (also available in French)


Pepper, Kaija. 2002. “Dance in Vancouver: Varied, vigorous and interactive.” In Iro Valaskakis Tembeck, (Ed.) Estivale 2000 Canadian Dance Bodies Then and Now/Les corps dansants d’hier à aujourd’hui au Canada. Toronto: Dance Collection Danse Press/es.From Vancouver’s incorporation in 1886, variety and vigour have characterized dance in this west coast city. Vancovuer’s dance heritage begins with visiting artists like Mabel Atlantis, and with local dancing schools who offered modern, stylish presentations. Boundaries between genres of dance were fluid, and as early as the thirties, Helen Crewe was incorporating some of Martha graham’s floor exercises in her ballet classes. These fluid boundaries are at the present time an important defining characteristic of Vancouver dance. Today, ballet and modern dance, contact improvisation, Butoh, Spanish, East Indian, and tap are becoming more and more interactive.
ISBN: 0-929003-50-0, softcover $39.95