Camille: Le Studio de Danse

BASIC INFO	LANGUAGE LEVEL	COMPREHENSION-AIDING FEATURES
Book Title Camille: Le Studio de Danse (Camille: The Dance Studio) Author(s) Cécile Lainé Illustrator(s) Jennifer Nolasco Other Contributors n/a Published by self-published Genre Realistic Fiction Publication date 2020 #Ownvoices N/A	From the author/publisher’s website Level 2 Total Word Count 3,600 words and 340 headwords with lots of cognates	Illustrations YES Glossary YES Guiding Questions YES Context YES Other The novel includes a cultural glossary at the end of the book and a YouTube playlist with useful videos. An audio recording of the book, read by the author, can be accessed on the author’s website.

IDENTITIES PRESENT IN THE TEXT		SYNOPSIS
Races, Ethnicities, and Nationalities White Black French Middle Eastern (names of Middle Eastern origin) Congolese Languages spoken French English (in song lyrics and hashtags) Sex and Genders Female Male Ages Teenager: 13-18 Mid-life Adult: 35-65 Senior Adult: 65+ Social classes Middle Class	Sexual Orientation Heterosexual Not identified in the main character (Dis)Abilities and Neurotypes No (dis)abilities or neurotypes mentioned. Religions, Syncretism, and Spirituality None identified. Relationship and Family Structures Extended family Heteroparental Body Descriptions While not described, the main character is conscious about not fitting the stereotype of a slender dancer body based on internal monologue and comments posted on social media. At the end of the book, Camille says, “Mon corps n’a pas besoin d’être mince pour être gracieux, sensuel et fort” / my body doesn’t have to be skinny to be gracious, sensual and strong (p. 37).	From the author/publisher’s website When Camille finds out her beloved dance teacher, choreographer, and studio owner is leaving, she is worried about her future. She fears that Studio Pineapple, where she has been dancing for five years, is going to close or be sold to someone she won’t get along with. But she soon finds out that while changes are hard, they often bring an opportunity to grow and blossom. This third installment of the Alice series can be read as a sequel or independently of the first two stories.

ILLUSTRATIONS	STORY	SOCIAL JUSTICE
To what extent do the illustrations present positive and thoughtful representations of identities? The cover art is a representation of Camille that illustrates that dancers come in all body types. She is not depicted as a stereotypical very lean dancer. The same is true for the depiction of the new studio director Joseph Mutombo that shows a muscular Black man who is teaching his students the choreography that incorporates the movements of Soukous which is a form of Congolese dance. The glossary presents the reader with several photographs and illustrations to enhance the reader’s understanding of the setting of the story.	We understand identities are complex and no single story represents the spectrum of identity-based experiences. Also, a text may address a stereotype, misrepresentation, or generalization without relying on it. *Does any stereotype, misrepresentation, or generalization affect any positive and thoughtful representations of identities in the text?* No	This section is for teachers who are working towards sourcing more texts within the four domains of anti-bias education. We are excited about reading all books and we understand that not all books are written for this specific purpose. *Does this text work toward goals within any of the* four domains of anti-bias education as defined by Learning for Justice? Identity: Promote a healthy self-concept and exploration of identity Diversity: Foster intergroup understanding Justice: Raise awareness of prejudice and injustice Action: Motivate students to act by highlighting individual and collective struggles against injustice

LLLAB’s REVIEW
The book tells the story of a 17-year-old girl, Camille, who dances at Studio Pineapple. When she learns that her best friend, Alice, is moving to Paris, Camille confronts Chantal, her dance teacher and studio owner (who is also Alice’s stepmother), about the future of the studio. Chantal tells her students that a new director, Joseph Mutombo, with whom she used to dance in the Ballet National de Marseille, will be taking over the studio. Before Joseph begins leading the studio, he choreographs a piece for a small group of advanced dancers for the end of the year recital. Camille, who is part of that group, is nervous at first but really enjoys Joseph’s style which is influenced by the movements of Congolese dances. At the recital, Joseph suggests that Camille takes part in auditions for a talent show, “La France a un Incroyable Talent.” He works with Camille to prepare her for the audition. Camille’s family and friends gather to encourage her before the audition and the book ends with Camille making a statement on the stage before beginning to dance. An important theme of the book is body image and expectations specifically related to dancers. The book begins with Camille visiting her grandmother who makes comments about Camille’s weight: “…alors, tu surveilles ton poids?” / …so, are you watching your weight? (p. 2). After seeing an ad for a dance audition that asks applicants to submit their height and weight as part of the application process, Camille posts a video of herself dancing and a comment: “…On n’est pas de la marchandise!” / We are not merchandise (p. 10) on her Instagram and Twitter accounts. Her posts go viral. She is surprised but doesn’t pay much attention as she doesn’t have time to think about it among everything else happening in her life at the time. When asked by the judge at the audition for the talent show why she is auditioning, Camille says “Pour montrer que mon corps n’a pas besoin d’être mince pour être gracieux, sensuel et fort.” / To show that my body doesn’t have to be thin to be graceful, sensual and strong (p. 37). The book also normalizes the use of gender-inclusive language, specifically when Camille writes, “On est des danseureuses!” / We are dancers! (p. 10) or complains that there are “trolleureuses” / trolls (p. 17) in the comments on her social media posts. The cultural glossary at the end of the book provides an explanation of these new word forms. Camille chooses to stand up to her grandmother who makes ignorant remarks against the new owner of the dance studio, who is Black. The grandmother says, “Et le grand homme noir qui a fait le discours, c’est le choréographe? Ah ben, c’est pourquoi vous avez beaucoup secoué les fesses sur cette musique. C’est comme ça qu’ils dansent en Afrique!” / And the tall black man who gave the speech, he’s the choreographer? Oh, that’s why you shook your rear-ends to the music. That’s how they dance in Africa (p. 30-31). Camille is angry at her grand-mother’s comment and thinks that it is ignorant and racist. She wants to respond (“je décide de lui dire que son commentaire est ignorant est raciste” / I decide to tell her that her comment is ignorant and racist” (p. 31) but is interrupted by Joseph who approaches them. He says he’s happy to work with students “who aren’t afraid to dance outside of their comfort zones” / qui n’ont pas peur de sortir de leur zone de confort (p. 32). Camille is on the metro after practice. She thinks, “Je me sens un peu en sécurité parce que j’ai beaucoup transpiré et je suis toute rouge. Pas attractive. / I feel somewhat safe because I sweated a lot and I am all red. Not attractive” (p. 6). When she notices a man looking at her, he sits next to her and says “Bonjour Mademoiselle. Vous aimez le sport?” / Hello Miss. Do you like sports? (p. 7). She thinks, “Est-ce le genre d’homme à me faire une rapide conversation ou est-ce le genre d’homme à me faire sortir du métro immédiatement?” / Is this the kind of man to make quick conversation with me, or is he the kind of man to make me get off the subway immediately? (p. 7). The teacher may want to discuss with students what experiences Camille may have had to make her think this way. When Camille confronts Chantal about the move to Paris, she says that because her husband got a promotion, they have to move. Chantal agrees to sell the studio which is “her life” and start all over in Paris because of her husband’s career. Teachers may wish to discuss with students the dynamics of this relationship in light of the female partner giving up something very meaningful for her to benefit her male partner’s career aspirations. NOTE 10/8/2023 – This review has been updated after contact from the author to correct errors and omissions.

LLLAB’s REVIEW

The book tells the story of a 17-year-old girl, Camille, who dances at Studio Pineapple. When she learns that her best friend, Alice, is moving to Paris, Camille confronts Chantal, her dance teacher and studio owner (who is also Alice’s stepmother), about the future of the studio. Chantal tells her students that a new director, Joseph Mutombo, with whom she used to dance in the Ballet National de Marseille, will be taking over the studio.

Before Joseph begins leading the studio, he choreographs a piece for a small group of advanced dancers for the end of the year recital. Camille, who is part of that group, is nervous at first but really enjoys Joseph’s style which is influenced by the movements of Congolese dances. At the recital, Joseph suggests that Camille takes part in auditions for a talent show, “La France a un Incroyable Talent.” He works with Camille to prepare her for the audition. Camille’s family and friends gather to encourage her before the audition and the book ends with Camille making a statement on the stage before beginning to dance.

An important theme of the book is body image and expectations specifically related to dancers. The book begins with Camille visiting her grandmother who makes comments about Camille’s weight: “…alors, tu surveilles ton poids?” / …so, are you watching your weight? (p. 2). After seeing an ad for a dance audition that asks applicants to submit their height and weight as part of the application process, Camille posts a video of herself dancing and a comment: “…On n’est pas de la marchandise!” / We are not merchandise (p. 10) on her Instagram and Twitter accounts. Her posts go viral. She is surprised but doesn’t pay much attention as she doesn’t have time to think about it among everything else happening in her life at the time. When asked by the judge at the audition for the talent show why she is auditioning, Camille says “Pour montrer que mon corps n’a pas besoin d’être mince pour être gracieux, sensuel et fort.” / To show that my body doesn’t have to be thin to be graceful, sensual and strong (p. 37).

The book also normalizes the use of gender-inclusive language, specifically when Camille writes, “On est des danseureuses!” / We are dancers! (p. 10) or complains that there are “trolleureuses” / trolls (p. 17) in the comments on her social media posts. The cultural glossary at the end of the book provides an explanation of these new word forms.

Camille chooses to stand up to her grandmother who makes ignorant remarks against the new owner of the dance studio, who is Black. The grandmother says, “Et le grand homme noir qui a fait le discours, c’est le choréographe? Ah ben, c’est pourquoi vous avez beaucoup secoué les fesses sur cette musique. C’est comme ça qu’ils dansent en Afrique!” / And the tall black man who gave the speech, he’s the choreographer? Oh, that’s why you shook your rear-ends to the music. That’s how they dance in Africa (p. 30-31). Camille is angry at her grand-mother’s comment and thinks that it is ignorant and racist. She wants to respond (“je décide de lui dire que son commentaire est ignorant est raciste” / I decide to tell her that her comment is ignorant and racist” (p. 31) but is interrupted by Joseph who approaches them. He says he’s happy to work with students “who aren’t afraid to dance outside of their comfort zones” / qui n’ont pas peur de sortir de leur zone de confort (p. 32).

Camille is on the metro after practice. She thinks, “Je me sens un peu en sécurité parce que j’ai beaucoup transpiré et je suis toute rouge. Pas attractive. / I feel somewhat safe because I sweated a lot and I am all red. Not attractive” (p. 6). When she notices a man looking at her, he sits next to her and says “Bonjour Mademoiselle. Vous aimez le sport?” / Hello Miss. Do you like sports? (p. 7). She thinks, “Est-ce le genre d’homme à me faire une rapide conversation ou est-ce le genre d’homme à me faire sortir du métro immédiatement?” / Is this the kind of man to make quick conversation with me, or is he the kind of man to make me get off the subway immediately? (p. 7). The teacher may want to discuss with students what experiences Camille may have had to make her think this way.

When Camille confronts Chantal about the move to Paris, she says that because her husband got a promotion, they have to move. Chantal agrees to sell the studio which is “her life” and start all over in Paris because of her husband’s career. Teachers may wish to discuss with students the dynamics of this relationship in light of the female partner giving up something very meaningful for her to benefit her male partner’s career aspirations.

NOTE 10/8/2023 – This review has been updated after contact from the author to correct errors and omissions.

Camille: Le Studio de Danse

1 thought on “Camille: Le Studio de Danse”

Leave a reply to madamebraunvoyage Cancel reply

Share this:

Related

1 thought on “Camille: Le Studio de Danse”

Leave a reply to madamebraunvoyage Cancel reply