"(...) I invited five people to the table: Michael Toppings, artistic director of the Montréal, arts interculturels (MAI), Vivine Scarlett, founder and curator of dance Immersion, Andrew Tay, co-founder and artistic director of Wants&Needs Danse and curator at Centre de création OVertigo (CCOV), Karla Étienne, dancer of Compagnie Nyata Nyata and member of (...) the Conseil des Arts de Montréal, and Keith Barker, artistic director of the Native Earth Performing Arts (NEPA). All have the same thing in common: they are already engaged in the conversation and are willing to share their thoughts so that the dance milieu continues to grow and evolve"--P.40.[-]

" From the photographer behind the Instagram sensation Brown Girls Do Ballet, this stunning coffee-table book showcases breathtaking images of ballerinas of color of all ages and levels that reflect today's beautifully diverse world of dance.

For decades the prominent image of a ballet dancer has been a white body with pale clothing. It took 75 years for American Ballet Theatre to have its first African American female principal dancer, Misty Copeland. When TaKiyah Wallace-McMillian went to enroll her three-year-old daughter into her first ballet class, she immediately saw this lack of diversity and representation—even on her local dance studio's website. Within weeks TaKiyah, a freelance photographer, began shooting a project she called Brown Girls Do Ballet, which eventually became an Instagram hit and a nonprofit organization that provides resources, mentorship, inspiration, and encouragement to young dancers of color worldwide.

For her first book, The Color of Dance, TaKiyah traveled around the United States seeking out dancers of African, Asian, East Indian, Hispanic, and Native American ancestry. With these more than 190 breathtaking images of colorful ballerinas of all ages and levels, both amateur and professional, TaKiyah gives a voice to dancers who have been underrepresented for too long.

With dozens of quotes throughout from ballerinas themselves, The Color of Dance redefines what this classically Eurocentric art form has looked like for centuries and will inspire dancers—and all of us—to pursue our dreams no matter what barriers are put in front of us. " Site éditeur (https://www.hachettebookgroup.com/)[-]

En cinquante ans d'existence, les savoirs qui ont émergé du Contact Improvisation, forme de danse créée par Steve Paxton en 1972, sont multiples et précieux, et nombreuses sont les recherches-en-danse qui s'y sont ressourcées. Ce livre est une tentative de rassembler certaines de ces études contemporaines, mais aussi plus anciennes, avec une attention particulière aux racines que le CI a implantés en France et en Italie, pour célébrer les phénoménologies, les anthropologies, les histoires et les activismes qui s'y sont déployées.[-]

" "I was a devil in the other contries, and i was a little devil in america too." Inspired by these few words, spoken by Josephine Baker at the 1963 March on Washinton, Hanif Abdurraqib has written a profound reflexion on how Black performance is inextricably woven into the fabric on American culture. Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rythm of the musicians he loves. He explains the poignacy of performance big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. A Little Devil in America exalts the Black performance that unfolds on specific moments in time and space - from mid-century Paris to the moon, and back down againt to a cramped living room in Colombus, Ohio." 4e de couverture

Contents
Movement 1 : Performing Miracles
- On Times I Have Forced Myself to Dance
- On Marathons and Tunnels
- On Going Home as Performance
- An Epilogue for Aretha

Movement II : Suspending Disbelief
- On Times I Have Forced Myself to Dance
- This One Goes Out to All the Magical Negroes
- Sixteen Ways of Looking at Blackface
- On the Certain and Uncertain Movement of Limbs
- Nine Considerations of Black People in Space

Movement III : Our Matters of Country/Provenence
- On Times I Have Forced Myself to Dance
- The Josephine Baker Monument Can Never Be Large Enough
- It Is Safe to Say I Have Lost Many Games of Spades
- My Favorite Thing About Don Sherley
- I Would Like to Give Merry Clayton Her Roses
- Beyoncé Performs at the Super Bowl and I Think About All of the Jobs I've Hates

Movement IV : Anatomy of Closeness / / Chasing Blood
- On Times I Have Forced Myself to Dance
- The Beef Sometimes Begins with a Dance Move
- Fear : A Crown
- On the Performance of Softness
- Board Up the Doors. Tears Down the Walls

Movement V : Calling to remember
- On Times I Have Forced Myself Not to Dance

- Acknowledgments
- Credits
- Index[-]

" En 2016, la poète Innu Natasha Kanapé Fontaine et le romancier québéco-américain Deni Ellis Béchard entamaient une conversation sans tabou sur le racisme entre Autochtones et Allochtones. Comment cohabiter si notre histoire commune est empreinte de honte, de blessures et de colère? Comment faire réaliser au Blancs le privilège invisible de la domination historique? Comment guérir les Autochtones des stigmates du génocide culturel? Ces questions traversent leurs échanges: Natasha raconte sa découverte des pensionnats autochtones, son obsession pour la crise d'Oka, la vie dans la communauté de Pessamit; Deni parle du racisme ordinaire de son père. de la ségrégation envers les Afro-Américains, de son identité de Québécois au États-Unis.

Cinq ans plus tard, Deni et Natasha reprennent la plume pour poursuivre ce "rendez-vous de la parole qui s'ouvre". Renouant avec le ton intimiste et le foisonnement intellectuel de leur premier échange. ils abordent des sujets d'une brûlante actualité: mobilisation de Black Lives Matter après la mort de George Floyd, feux de forêt en Californie, campagne présidentielle sur fond de montée de l'intolérance; soulèvement des Wet'suwet'en et blocus ferroviaires, dénonciation de la politique de la reconnaissance du gouvernement Trudeau. Puis survient l'impensable : Joyce Echaquan, une Atikamekw de 37 ans, meurt sous les injures racistes de deux infirmières de l'hôpital de Joliette. Une vague d'indignation monte...
En croisant leurs mots avec franchise, leur lettre approfondissent le dialogue nécessaire à la réconciliation entre nos peuples. Il en résulte un livre humaniste et universel sur le rapport à l'autre et le respect de la différence."
4e de couverture

Contient un échange épistolaire entre les deux auteurs.
Contient aussi 3 annexes:
Annexe 1 : Chronologie des événements
Annexe 2 : Quelques mots d'Innu-aïmun
Annexe 3 : Question à l'intention des jeunes (proposition de discussion à animer)[-]