The Winter We Danced

The Winter We Danced is a vivid collection of writing, poetry, lyrics, art and images from the many diverse voices that make up the past, present, and future of the Idle No More movement. Calling for pathways into healthy, just, equitable and sustainable communities while drawing on a wide-ranging body of narratives, journalism, editorials and creative pieces, this collection consolidates some of the most powerful, creative and insightful moments from the winter we danced and gestures towards next steps in an on-going movement for justice and Indigenous self-determination.

"This book is a series of stories from the oral tradition of the Michi Saagiig Nishnaabeg as told by Elder Gidigaa Migizi (Doug Williams). In his own words, he shares the history of the Michi Saagiig Nishnaabeg discussing their origin stories, alliances, diplomacy, resistance and relations to the lands and waters in their homeland."--

Commencing by explaining how the word Ininew?refers to the phrase ?mixing of four,?Wilfred Buck embarks upon a series of dazzling stories: ?herein is the story of how I lived and how I died and how I lived again along with the dreams I have dreamed and the visions I have seen.? In this unique collection of writings Buck, an Ininew Dream Keeper (Pawami niki titi cikiw), illustrates, four separate stages of personal experience. The stories in I Have Lived Four Lives? are designed as aids to the discovery and healing for Indigenous youth, and encompass a range of hilarious and vivid recollections that revolve around visions and dreams, and that ultimately trace Buck?s path to becoming a teacher in Indigenous cosmology and astronomy.

Traces the mythology, superstitions, and events that influenced the creation of the modern calendar, discussing such facts as the explanations behind the names of the days of the week and the origins of the Easter Bunny.

“Captivating…equal parts memoir and cultural history, Henry Alford seamlessly interweaves heartwarming and hilarious anecdotes about his deep dive into all things dance” (Misty Copeland, The New York Times Book Review). When Henry Alford wrote about his experience with a Zumba class for The New York Times, little did he realize that it was the start of something much bigger. Dance would grow and take on many roles for Henry: exercise, stress reliever, confidence builder, an excuse to travel, a source of ongoing wonder, and—when he dances with Alzheimer’s patients—even a kind of community service. Tackling a wide range of forms (including ballet, hip-hop, jazz, ballroom, tap, contact improvisation, Zumba, swing), Alford’s grand tour takes us through the works and careers of luminaries ranging from Bob Fosse to George Balanchine, Twyla Tharp to Arthur Murray. Rich in insight and humor, Alford mines both personal experience and fascinating cultural history to offer a witty and ultimately moving portrait of how dance can express all things human. And Then We Danced “is in one sense a celebration of hoofer in all its wonder and variety, from abandon to refinement. But it is also history, investigation, memoir, and even, in its smart, sly way, self-help…very funny, but more, it is joyful—a dance all its own” (Vanity Fair).

Through a combination of historical and contemporary analysis this book shows how settler colonialism, as a mode of racial capitalism, has made and remade Winnipeg and the Canadian Prairie West over the past one hundred and fifty years. It traces the emergence of a 'dominant bloc', or alliance, in Winnipeg that has imagined and installed successive regional development visions to guarantee its own wealth and power. The book gives particular attention to the ways that an ascendant post-industrial urban redevelopment vision for Winnipeg's city-centre has renewed longstanding colonial 'legacies' of dispossession and racism over the past forty years. In doing so, it moves beyond the common tendency to break apart histories of settler-colonial conquest from studies of urban history or contemporary urban processes.

"Poignant and exquisite"--The Los Angeles Review of Books "An inspiring and powerful book"--Booklist "A genuinely absorbing read"--Kirkus "Revelatory, honest, and wondrous."--Chanel Miller, author of Know My Name A lyrical and meditative memoir on the damage we inflict in the pursuit of perfection, the pain of losing our dreams, and the power of letting go of both. With a promising career in classical ballet ahead of her, Ellen O'Connell Whittet was devastated when a misstep in rehearsal caused a career-ending injury. Ballet was the love of her life. She lived for her moments under the glare of the stage-lights--gliding through the air, pretending however fleetingly to effortlessly defy gravity. Yet with a debilitating injury forcing her to reconsider her future, she also began to reconsider what she had taken for granted in her past. Beneath every perfect arabesque was a foot, disfigured by pointe shoes, stuffed--taped and bleeding--into a pink, silk slipper. Behind her ballerina's body was a young girl starving herself into a fragile collection of limbs. Within her love of ballet was a hatred of herself for struggling to achieve the perfection it demanded of her. In this raw and redemptive debut memoir, Ellen O'Connell Whittet explores the silent suffering of the ballerina--and finds it emblematic of the violence that women quietly shoulder every day. For O'Connell Whittet, letting go of one meant confronting the other--only then was it possible to truly take flight.

Collection from one of Canada's finest poets.