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We should first mention some outstanding artists who are returning to Danse Danse: Sidi Larbi Cherkaoui, with a monumental work featuring the mediaeval chants of the group Micrologus; and the flamboyant Akram Khan in the most eagerly-awaited show of the season: a new work with French actress Juliette Binoche. The set for this new piece will be designed by one of the giants of contemporary art: sculptor Anish Kapoor. Another distinguished guest, the Ballet du Grand Théâtre de Genève, is making its first appearance in Montreal. The new darling of the European dance world is offering an exceptional program of works by Saburo Teshigawara, Andonis Foniadakis and Sidi Larbi Cherkaoui. We will also be honouring Jirí Kylián and his immense contributions to the world of dance in a tribute orchestrated by Anik Bissonnette and Mario Radacovsky, the director of the Ballet at the Slovak National Theatre. Choreographers to keep an eye on: Canadian Aszure Barton, a protégée of Mikhail Baryshnikov, whose works will be performed by Les Ballets Jazz de Montréal [bjm_danse]; the charismatic Victor Quijada and partner Anne Plamondon in a work for the electrifying RUBBERBANDANCE GROUP; and the Chinese-Canadian choreographer Wen Wei Wang, who is back with his Vancouver company after their acclaimed performance in 2006. The season will end on a note of genius and virtuosity: for the last time in Montreal, La La La Human Steps will present Amjad, a breathtaking deconstruction of Swan Lake and Sleeping Beauty by Édouard Lock. Also, new in 2008-2009 : all spectators who want to get more informed about contemporary dance is invited free of charge to an Up Close to Danse Danse talk before each performance. Clothilde Cardinal
Unlike ballet or modern dance, so-called contemporary dance does not refer to a particular style with a recognizable set of principles and forms, existing independently of the individuals who created it. Contemporary dance is a deeply individual activity, in which multiple influences and trends can be detected, without one in particular dominating. It is thus difficult to define “contemporary dance” based on purely artistic criteria or general characteristics. Even the term “dance” can be so broad and take so many forms that the only common denominator would seem to “the body.” But what body, what vision of the body, what type of body? Even the quality of being “in movement” must be abandoned, since much contemporary dance centres on the body at a standstill or falling, or on the body as an emblem or metaphor. Moreover, the notion of ”movement” may mean different things to different choreographers. For the sake of convenience, one could divide “contemporary dance” into three main categories: “pure dance,” which focuses on choreographic composition or improvisation and the body in movement; “dance theatre,” which is often interdisciplinary and collage-like, containing many referential and even narrative elements; and “performance-dance,” which is based on the body and its significance as such (rather than the body in movement). Many choreographers, however, refuse to be categorized since they are active in a variety of genres, or draw inspiration from transcending the genres. Despite this diversity and constant change, contemporary dance has retained, due to sociological factors, a strong “brand name.” Beginning as a search for a new path for choreographic creativity in the 1980s, it has since developed into a network of individuals (artists, programmers, audience members, journalists, scientists and others) and institutions (dance companies, production companies, workshops, arts centres, schools, etc.), which all have great faith in the concept and its practice. Sometimes we hear the opinion that “dance” should be given a stricter definition, that certain artistic creations should no longer be called “contemporary dance” but rather “performance” or something else, but these opinions have garnered little favour. The allure of “contemporary dance” remains as strong as ever.
Before each show, in the hall of the theatre at 7 :15 p.m. And it’s free!
Mandat Audience Development Creative Support Distribution Support Principles
Danse Danse (LOMA) Co-direction Press Relations Production Manager Co-directors photo : Martine Doucet
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