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Volume 11, Issue 5
November 2008

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Features

Byron Chief-Moon

Moving from a Landscape Tradition

By Mary Theresa Kelly

Byron Chief-Moon broke into Vancouver’s film industry by falling off horses for the daily rate as a stuntperson. The actor, dancer and choreographer is soon to become a councillor in his home community on the Blood Reserve at Standoff, Alberta.

Karen Kuzak

in the studio

“The moments are real and not repeatable,” says choreographer Karen Kuzak about her new work the art of displacement.

Hip Hop in the Canadian North

Steven Leafloor and Blue Print for Life

By Lys Stevens

Iqaluit, Clyde River, Inukjuak, Puvirnituk. Blue Print for Life programs use hip hop and breaking culture as tools for social change in the Canadian North.

Dance, Human Rights, and Social Justice: Dignity in Motion

Excerpt from Introduction of new book edited by Naomi Jackson and Toni Shapiro-Phim

No More Starving in the Attic: Senior Dance Artists Advocate a Canadian Artists' Heritage Resource Centre

By Carol Anderson

Excerpt from Dance, Human Rights and Social Justice

Departments

Editorial

By Megan Andrews

Dance, society, politics

Making Waves

By Kate Stashko

Belinda McGuire is flying solo

Marking Time

By Amy Bowring

Ian Gibson, “the Canadian Nijinsky”

Funniest on-stage moment

Xiao Nan Yu, principal dancer with The National Ballet of Canada

In print

Danse et Santé: du corps intime au corps social sous la direction de Sylvie Fortin Collection Santé et société

Short Waves

By Sarah Lochhead

Canadians elect another Conservative minority; Kay Armstrong 1921-2008; Canadian Conference of the Arts hosts regional forums; Alberta celebrates provincial Arts Day; Landmark Toronto theatre celebrates twenty-five with a new name; Recent and ongoing dialogues in the arts [Choreographic Dialogues; York University; Dissolving Boundaries vs. Storming Barricades; Performance Creation Canada; Dance Medicine and Science Symposium; Journées de la culture; Naked Goals: Identifying & Developing Your Artistic Vision; CADA-ON; Art as Witness: Art, Art Therapy and Trauma Resolution; So you think you don’t folk dance; battery opera]

Expert advice

On the Etiquette of Commissioning from Karen Kaeja

Emerging Views

Tania Jean, graduate of l’École de danse de Québec dancing with Mocean Dance

Undercurrents

David Hope, executive director of The Actor’s Fund of Canada

Vantage Point

By Shannon Litzenberger

Arts & Culture: Bold steps into the political ring

Caribana is Our Stage

Themes of becoming, shaping from and returning to are central to Caribbean performance arts. As one of these art forms, Carnival is a nuanced performance art practice rooted in the cultural memory of the lives of Caribbean peoples throughout Canada and the diaspora. But whose story is told (or not told) and in what context? The telling or omission of stories can be traced to a lack of understanding of the complexity of the Caribbean and its Carnival – a performance tradition that is more than the mass commodification, sexuality and “loud music” we often associate it with.

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