The Responsive Body
In this English edition, choreographer, teacher, and artistic producer of the Canada Dance Festival, Brian Webb, encourages everyone in the dance community to speak about dance and the dance experience in this bilingual offering of eight essays on contemporary dance in Canada.
Raising Frankenstein: Curatorial Education and Its Discontents presents compelling new writing that explores the education and formation of curators. Edited by Kitty Scott and including essays by Barbara Fischer, Teresa Gleadowe, Francesco Manacorda, Cuauhtémoc Medina, and Lourdes Morales, this book offers an overview of recent thinking on curatorial pedagogy, designed to elucidate, define and build on current debates surrounding this subject. The questions posed here are timely and provocative.
Reflections in a Dancing Eye
Featuring 48 prominent Canadians — artists, politicians, scientists, academics, and business leaders, Reflections in a Dancing Eye: Investigating the Artist's Role in Canadian Society is a timely look at the role of the artist in Canadian society. Part conversation, part memoir, each unique reply begins from the same set of questions.
Toward. Some. Air.
Toward. Some. Air. is a landmark collection of profiles of contemporary poets, statements, essays, conversations about contemporary poetry and poetic practice, and a few exemplary poems selected by up-and-coming poet and scholar Amy De’Ath and Governor General’s Award-winning, former Parliamentary Poet Laureate Fred Wah. The over 40 contributors to this anthology are renowned poets and academics from Canada, the United States, and the United Kingdom.
Toward. Some. Air. is an open invitation to consider the various contours and meanings of Anglophone poetic practice, as a way of interpreting the world around us. An invaluable critical resource with unprecedented scope, this is a book that speaks to the future of contemporary poetics and writing poetry.
The Shape of Content
This book is a collection of creative pieces—poems, short stories, essays, play excerpts—that give shape to mathematical and scientific content. This book portrays by example how various people work creatively with ideas from mathematics and other sciences.
Dancing in Thin Air
Internationally renowned choreographer Brian Macdonald first came to teach dance at The Banff Centre in 1960. Dancing in Thin Air is a recollection of the stories, the people, and the ballets that have made The Banff Centre recognized worldwide for its summer dance programs. Full of pictures, anecdotes, and insights, Dancing in Thin Air will appeal to everyone who has had anything to do with dance!
Voices From France
Voices From France is the result of a rich collaboration between The Banff Centre, the Societé des auteurs et compositeurs dramatiques, supported by the French Embassy in Canada, and the Maison Antoine Vitez in France, and features English translations of five French contemporary plays. The exchange that begins at The Banff Centre between a playwright and a translator continues between the reader and the text, and the actor and the audience.
It's one thing to sign on for the long and lonely apprenticeship that is the life of a writer; most writers have, or eventually develop, a certain talent for that kind of solitude. But when it comes time to approaching publishers, and, if accepted, embarking on contract negotiation, editing, launching, and publicizing that first book, the experience of crossing the line from private to public space can be daunting - even overwhelming. The editors of this anthology have survived their first-time publishing experiences. Afterward, they found themselves asking: With all the books out there about how to be an effective writer, why hasn't somebody published a book about this transition?
Speaking in Tongues
While writers living in exile have much to say, they often lack a space to be heard. Speaking in Tongues offers the personal reflections of writers in exile — many now living in Canada — as they engage with and interrogate the act of translation.
As one writer living in exile has said, “Crossing borders, one after another, is a bloody devastating experience, but an experience done and over. Translating the self into another self through another vocabulary is what we face, right after we have finished the crossing. It is the last border, and it is invisible. And it is there during the ‘translation’ period that we slip away.
Right to Dance
To date, no scholar has seriously examined the relation between dance and human rights. Yet in terms of human rights organizations, there appears to be intimate connections between dance and human rights issues. Such connections appear most frequently in the context of dance being used as a tool for inciting people to violence, as a means is of humiliation, and as a means of uniting communities in times of hardship. Dance is often employed as a nationalistic propaganda tool, as a means of healing individuals and groups after traumatic events, and as a powerful form of theatrical expression and education by artists/choreographers who have undergone or witnessed gross violations of human rights.
The ways that dancing, as an embodied, highly sensual, and sexually charged activity exposes inconsistencies and abuses in human rights are myriad. This anthology examines the intersection of dance and human rights.