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Contributor

Kaija Pepper

Contributor

Kaija Pepper writes for several publications, including The Globe and Mail. The Man Next Door Dances: The Art of Peter Bingham, her third dance history book, was a finalist for the 2008 City of Vancouver Book Award. She enjoys teaching writing at SFU’s School for the Contemporary Arts. | Kaija Pepper [rédactrice invitée, rédactrice adjointe des critiques] écrit pour plusieurs publications, y compris The Globe and Mail. The Man Next Door Dances: The Art of Peter Bingham, son troisième livre d’histoire de danse, a été finaliste pour le prix du livre 2008 de la Ville de Vancouver. Elle aime bien enseigner la rédaction à la School for the Contemporary Arts de l’Université Simon Fraser. 

Kaija Pepper's Work

 

Techno-Divinity? 

By Kaija Pepper "Grace" Joe Laughlin, jamie griffiths

Grace, it would appear, is a rich state of being. According to the traditional hymn, “Amazing Grace”, “ ‘Twas grace that taught my heart to fear/And grace my fears relieved&.” We say grace before a meal to show thankfulness. The ability to move gracefully is an important skill for a dancer.  

 

Patchwork but Persistent 

By Philip Szporer, Kaija Pepper, Kate Cornell, Bridget Cauthery, Marie Claire Forté Canada Dance Festival 2004  Canada Dance Festival

It’s been a rough road for the Canada Dance Festival this year, first facing funding shortfalls, and subsequently narrowing the programming to fourteen performances, down from thirty-one two years ago. Organizers of the tenth edition, not willing to relinquish much else, splashed the slogan “Dare to turn up the heat” in riposte. 

 

Thinking/Moving -- Moving/Thinking 

By Kaija Pepper "I Seem To Be A Verb" Susan Elliott  

There are a lot of ideas floating around in Susan Elliott’s first full-length choreography, “I Seem To Be A Verb”. Not all of them surface, and the choreography is probably many works in one. Almost managing to hold the hour together is an interesting subtext: the act of creation, as experienced by a choreographer still getting used to the job. Examining the artist’s role is a legitimate concern, if a trifle inward-looking.  

 

Ballet in the Vernacular 

By Kaija Pepper The Magic Flute Mark Godden, Canada's Royal Winnipeg Ballet

Mark Godden’s “The Magic Flute”, with its mix of classical ballet and contemporary cultural references, is great fun. Not just for the work itself, but also because of the reactions of the audience. To hear so many chuckles and gales of laughter at the ballet was a pleasure.  

Making Waves

By Kaija Pepper

Julia Taffe: dance shaped by mountains

Humour, Words and Some All-Out Dance

By Kaija Pepper

Dancing on the Edge Festival/ Le Festival Dancing on the Edge: Vancouver: July 3-13, 2003: Tensions by Paul-André Fortier; Lamont Earth Observatory and Muzz by Sarah Chase; On Earth by Claudia Moore; Housewerk by Jennifer Mascall; Vuelta by Tom Stroud; Fish is a Train of Glass by Stephanie Gilliland; Salome the Headhuntressby Constance Cook; Please Dad by Hiromoto Ida; Crime Scene by Edmond Kilpatrick; Latanie Bedzie Dobre (the dance will be A1) by Katie Ward; apostrophe by Anne Cooper; Xenevelene from Colour for Industry; A Chimerical Hand by David Pressault for Emerging Artists Trio; Cruelties Like These by Crystal Pite; Échine Barricade (I’m mobile) by Karine Denault; Untitled Tangle by John Ottmann; Painfully Lovely by Hanna Kiel; Scenes from a Shared Life by Judith Marcuse; And it flew by Helen Walkley; Cart by Simone Orlando

A Wealth of Influences

By Kaija Pepper

Tao (The Way) by Wen Wei Wang: Vancouver: October 15-18, 2003

The Fleeting Ecstasy of Youth

By Kaija Pepper

Risque by Paul-André Fortier: Vancouver: November 19-22, 2003

Social Studies

By Kaija Pepper

Dances for young People: 4 distinct approaches

Ground Level

By Kaija Pepper

Stephen White’s island paradise

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