My Vancouver Dance History

A compelling personal account of the artists and works that have established Vancouver as a dance-making capital.

In the past decade, Vancouver dance has received tremendous acclaim nationally and internationally, as witnessed by the success of choreographer Crystal Pite and a rejuvenated Ballet BC. But this is only part of a vibrant and diverse story of contemporary movement practices in the city. In My Vancouver Dance History Peter Dickinson crafts an embodied narrative that focuses on his critical and creative collaborations with nine Vancouver-based dance artists and companies. Mixing interview excerpts with fieldwork descriptions of studio research and performance analysis, Dickinson draws on ten years of close observation to delve into the individual histories of select members of this community, while also relating the cumulative story of Vancouver dance production and performance as it has unfolded in the past decade. The voices of other invested participants interpolate this rich history, and chapters are interspersed with a series of "movement intervals" that reflect key moments in Dickinson's history as a spectator, scholar, and collaborator. In innovative ways, Dickinson suggests that when we pay attention to the larger social topography of dance practice - the sites that give rise to it, the labour that goes into it, and the professional friendships it engenders - we can properly understand dance's contributions to civic life.

Martha Ullman West illustrates how American ballet developed over the course of the twentieth century from an aesthetic originating in the courts of Europe into a stylistically diverse expression of a democratic culture. West places at center stage two artists who were instrumental to this story: Todd Bolender and Janet Reed. Lifelong friends, Bolender (1914–2006) and Reed (1916–2000) were part of a generation of dancers who navigated the Great Depression, World War II, and the vibrant cultural scene of postwar New York City. They danced in the works of choreographers Lew and Willam Christensen, Eugene Loring, Agnes de Mille, Catherine Littlefield, Ruthanna Boris, and others who West argues were just as responsible for the direction of American ballet as the legendary George Balanchine and Jerome Robbins. The stories of Bolender, Reed, and their contemporaries also demonstrate that the flowering of American ballet was not simply a New York phenomenon. West includes little-known details about how Bolender and Reed laid the foundations for Seattle’s Pacific Northwest Ballet in the 1970s and how Bolender transformed the Kansas City Ballet into a highly respected professional company soon after. Passionate in their desire to dance and create dances, Bolender and Reed committed their lives to passing along their hard-won knowledge, training, and work. This book celebrates two unsung trailblazers who were pivotal to the establishment of ballet in America from one coast to the other.

The creation of this work is an invitation to step into the world of the dancer and vicariously experience the passion and motivation for the dance arts. This book’s focus centers on the power and spirituality of the dance told through the life stories of two dance artists, Magda and Gertrud Hahn. This work additionally invites the reader to celebrate the sublime and nuanced inner and outer experiences achieved through dancing. Foremost, in these pages you will accompany two sisters, who faced many challenges throughout their lives, but were sustained and inspired by their love of dance. The Hanova School of Modern Studies in Body Sculpture and the Classical Dance occurred throughout the twentieth century on three continents around the world and may be largely forgotten, but a record of the Hahn sisters’ lives may be seen as one of many important personal narratives to be read in order to understand the history and formation of the modern dance we enjoy today.

A proofreader realizes his power to edit the truth on a whim, in a “brilliantly original” novel by a Nobel Prize winner (Los Angeles Times Book Review). Raimundo Silva is a middle-aged, celibate clerk, proofing manuscripts for a respectable publishing house. Fluent in Portuguese, he has been assigned to work on a standard history of the country, and the twelfth-century king who laid siege to Lisbon. In a moment of subversive daring, Raimundo decides to change just one single word of text—a capricious revision that completely undoes the past. When discovered, his insolent disregard for facts appalls his employers—save for his new editor, Maria Sara. She suggests that Rainmundo take his transgressions even further. Through Rainmundo and Maria’s eyes, what transpires is an alternate view of history and a colorful reinvention of a debatable truth. It’s a serpentine journey through time where past and present converge, fact becomes myth, and fiction and reality blur—especially for Rainmundo and Maria themselves, who begin to find themselves erotically drawn to each other. “Walter Mitty has nothing on Raimundo Silva . . . this hypnotic tale is a great comic romp through history, language and the imagination.” —Publishers Weekly Translated by Giovanni Pontiero

"This enriching, complex family saga and interracial drama brims with beautiful writing. It begins one summer on Bowen Island during the Depression and moves through Pearl Harbour and the evacuation of the Japanese and into the 1970s. Gwen Killam is a child on Bowen whose idyllic summers are obliterated by the outbreak of the war. Her swimming teacher, Takumi Yoshito, disappears along with his parents who are famous for their devotion to the Bowen Inn gardens. The Lower Mainland is in blackout, and so is the future of Gwen’s beloved Aunt Isabelle who must make an unthinkable sacrifice. The Bowen Island dancehall is well-known during the war as a moonlight cruise destination and it becomes an emotional landmark for time passing and remembered."--Provided by publisher.