Search

Winnipeg, Manitoba is located on the sacred territory of the Anishinaabeg, Cree, Oji-Cree, Dakota, Dene, and the Métis Nation. Like most Canadian cityscapes, though, these unceded lands are the grounds on which Jets hockey, the Canadian Museum for Human Rights (CMHR), and the Royal Winnipeg Ballet (RWB) take centre stage. Punctuating the city's skyline from the historic downtown Forks site, the CMHR marks Winnipeg's rising sense of self as a tolerant multicultural centre. However, as Indigenous-led choreographies of assembly continue to demonstrate, these sites of settler life are the same sites where Indigenous women and men are brutalized. In this essay, I specifically move with the February 2018 March for Tina Fontaine and the annual Drag the Red initiative as my objects of analysis. Looking closely at gendered racial violence, performativity, and necropolitics, I discuss how these public assemblies spotlight settler space as always already ghosted and constituted by Indigenous bodies. In particular, I explore how the March and Drag the Red subvert the sweeping grand narratives of human rights and liberal multiculturalism rehearsed by the CMHR, The Forks, and the Red River, where colonial violence is reiterated as an ever more insidious, moving target. The march and Drag the Red underscore how Indigenous people continue to fall from the national story. However, the rigorous physical labour performed by those who march and dredge is a form of radical care for those disappeared and site of Indigenous resurgence. [ABSTRACT FROM AUTHOR]

Focuses on the adaptation of theory of Shakespeare in number of performance of Winnipeg's Contemporary Dancers in Canada. Approach of artistic director Tom Stroud in interpreting the text of Shakespeare; Characterization of choreography of the contemporary dancers; Accountability for adaptation of Shakespeare works in theater.

The article offers information on the national dance archive Dance Collection Danse (DCD) of Canada. It mentions that musical histories, choreographic notes, moving images, and even the postcards of dancer and choreographer Maud Allan can be seen in the archive. It adds that Descant production editor Nadia Szilvassy was amazed with the domestic space of the DCD's robust collections. Moreover, it notes that the DCD archive provided historical dance images to the journal.

The article profiles Karen Kain, the artistic director of the National Ballet of Canada. A number of issues are addressed including Kain's policy of presenting non-traditional choreography, her own ballet stardom in the 1970s and overcoming the financial difficulties that had plagued the National Ballet of Canada.

In this article the author discusses Canadian singer Avril Lavigne, comparing her 2007 public persona to that of fellow pop singer Britney Spears. It is noted that while Lavigne sought to distance herself from Spears, she had included choreography similar to that of Spears into her stage shows. The different uses of underwear employed by Spears and Lavigne are discussed.

The article profiles Atlantic Ballet Theatre of Canada founded by Igor Dobrovolskiy and Susan Chalmers-Gauvin. The lack of ballet company in Canada's Atlantic provinces forced the founders to establish the company. To introduce something new in ballet, Dobrovolskiy uses literary classics in his choreography. Due to the small number of dancers, Dobrovolskiy is able to give them special attention to help them develop their artistic sensibilities.

This article presents a portrait of choreographer Mark Godden. The curtain drawn across the stage of the Manitoba Centennial Concert Hall is a pinot noir-ish red--a heavy, hush-inspiring hue that suggests solemn entertainment and serious performances. On a recent Friday evening, Royal Winnipeg Ballet artistic director Andr& eacute; Lewis stepped out from behind it and, while introducing The Magic Flute, the company's new ballet based on the opera by Mozart, called the venerable composer's music "unforgivable." It's also the latest Winnipeg success story to wear pointe shoes but push the boundaries of ballet, and comes courtesy of vaunted choreographer Mark Godden. Godden is the bad boy of Canadian ballet and that, combined with a reputation for accomplishing the spectacular on a shoe-string, keeps him in demand. Now based in Montreal with his wife, choreographer Nina Menon, and son Zachary, Godden works freelance for several ballet companies.

The author offers information on the scale aerobatics competition, International Miniature Aerobatic Club, which is being held in Canada. He explains the levels of difficulty during the competition including the Basic class and the Unlimited Class. He also explores the four-minute free-style event, in which pilots have the chance to choreograph a flight to music and are judged on accuracy, rhythm and creativity.

The article presents a list of retail stores for dancewears in various states of the U.S. and Canada. The state of Michigan includes stores such as Bottoms Up, Dance Loft, Dance World Inc. Turning Pointe. The state of California include stores such as O Shop, Style Leader, The Dance Place, Dance Shoppe, Capezio Dance Shop and many others. The state of Wisconsin include a few retail stores such as Dance, Dee Dee's Dance, To The Pointe, and Uniflex Inc. Canada has a number of retail stores such as Dance For Life, The Dance Shop, Limbers Dancewear, Niagara Performance Apparel and many others.

Anishinaabe artist Brian Solomon speaks about the and limiting nature of traditional narratives and structures in Canadian art and aesthetics historically and the current moment. Speaking about the development of his career, he advocates for artists to engage in acts that interrogate histories of colonialism that have constrained artistic creation in Canada. [ABSTRACT FROM AUTHOR]