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Quote by Selma Lagerlöf

“It is only under the plane trees of Granada that la cachucha is danced by eternally young gypsies. Eternally young, like the roses are, because every spring there are new ones.”

Quote by Selma Lagerlöf

Book:Gösta Berling's Saga
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Work

Gösta Berling's Saga

Gösta Berling's Saga is a Swedish novel that delves into the life of its title character, Gösta Berling, a young man from a noble family. The story is set in the late 18th and early 19th centuries in Sweden, and it encompasses elements of romance, adventure, and social commentary. The narrative follows Gösta's journey through various social classes, his romantic entanglements, and his personal growth. The novel is known for its vivid portrayal of Swedish landscapes and its exploration of the complexities of human relationships and societal norms. more

Author

Selma Lagerlöf

Selma Lagerlöf, born on November 20, 1858, and died on March 16, 1940, was a renowned Swedish author. She is best known for her children's literature and was the first Swedish woman to win the Nobel Prize in Literature. more

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“Every July, when Eli was growing up, his mother would close the cabin and move the family to the Sun Dance. Eli would help the other men set up the tepee, and then he and Norma and Camelot would run with the kids in the camp. They would ride horses and chase each other across the prairies, their freedom interrupted only by the ceremonies. Best of all, Eli liked the men’s dancing. The women would dance for four days, and then there would be a day of rest and the men would begin. Each afternoon, toward evening, the men would dance, and just before the sun set, one of the dancers would pick up a rifle and lead the other men to the edge of the camp, where the children waited. Eli and the rest of the children would stand in a pack and wave pieces of scrap paper at the dancers as the men attacked and fell back, surged forward and retreated, until finally, after several of these mock forays, the lead dancer would breach the fortress of children and fire the rifle, and all the children would fall down in a heap, laughing, full of fear and pleasure, the pieces of paper scattering across the land. Then the dancers would gather up the food that was piled around the flagpole—bread, macaroni, canned soup, sardines, coffee—and pass it out to the people. Later, after the camp settled in, Eli and Norma and Camelot would lie on their backs and watch the stars as they appeared among the tepee poles through the opening in the top of the tent. And each morning, because the sun returned and the people remembered, it would begin again.”

DanceCeremonyFirst NationsSun Dance
Book:Green Grass, Running Water
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“Responding ot the need to represent French Canada in the company's offerings, Franca and Ambrose researched French-Canadian folk songs and arts and crafts, commissioned a score, on George Crum's recommendation, from Hector Gratton, and put together what was intended as a light and amusing ballet on folk themes. It was well-received outside Quebec, but met strong opposition in Montreal, where it was seen as the worst kind of tokenism as well as a slight to the true nature of Quebec culture. Paul Roussel, reviewing for Le Canada, called into question the validity of its inspiration. He suggested that, suitably revised, it might make an amusing trifle, but in its present form it could not lay claim to any Quebecois cultural authenticity.”

DanceCanadaBalletQuebecCultural AppropriationCultural AuthenticityCultural Representation
Book:Passion to Dance: The National Ballet of Canada
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