New waves 2017
Envision possible futures for choreography in this eclectic, juried series of short works from young Québec dancemakers
New Waves is an annual opportunity for five young local choreographers to present their work, often for the first time in a professional environment. More than a platform, we also accompany them as they experience the entire process of producing, mounting and presenting their performance. Each choreographer selected among thirty candidates benefits from a creative residency in partnership with José Navas/Compagnie Flak.
No Need For Blue Jeans Here
Aliah Schwartz & Guillaume Loslier-Pinard / Blunder Blender
As a collaborative partnership, Guillaume Loslier-Pinard and Aliah Schwartz are interested in exploring the inherent absurdity of reality. Through the use of movement, sound, and objects, they create a world where the line between humour and tragedy is thin, and where the banal is often at the forefront. Virtuosity is seen as suspicious, their focus lying in the moments of in-between: the end and beginning of a performance, preparation and rest, and the small rituals of daily life.
Choreographers and performers Aliah Schwartz, Guillaume Loslier-Pinard
Lighting designers Sylvie Nobert, Lee Anholt
Aliah Schwartz is a dancer, choreographer and visual artist originally from Nova Scotia, now based in Montreal. She completed a major in Contemporary Dance at Concordia University in 2017, while creating and performing for festivals in Montreal and Nova Scotia.
Guillaume Loslier-Pinard has danced and choreographed at several festivals and venues in Montreal, including Tangente, Quartiers Danses, Bouge d’Ici, and Art Matters, while completing his BFA in Contemporary Dance at Concordia University. Before becoming a choreographer, he traveled around the world, worked as a film director for the United Nations in Brazil, and as a soldier on the Canadian Forces reserve.
After studies in photography, Sylvie Nobert became interested in lighting for the stage, and for contemporary dance in particular. She now designs and does technical direction for independent choreographers, as well as for the New Waves series at Tangente. She works regularly in Montreal’s maisons de la culture, and has also been technical director for the Printemps de la Danse tour.
Lee Anholt moved to Montréal in 1990 after completing a BA in Contemporary Dance at Simon Fraser University. His work was produced in Montréal, Toronto, and Vancouver. In 1995, he began gravitating towards technical theatre. Lee was the technical director and lighting director on tour for Montréal Danse and FLAK (Josée Navas) for many years and also had the chance to work with many great creators in dance as well as theatre: Peggy Baker, Louise Lecavalier, and Denis Marleau (UBU), to name a few. Lee is currently the technical and production director for Danse-Cité. He also creates lighting for theatre, music, and especially dance.
There is a myth that orcas are the guardians of cosmic memory and that they can help humans tap into the unconscious memory of our oceanic origins through the sounds and vibrations they create. With Breach, we are exploring the permeable potential of the body through imagination and touch, drawing from the rich and multi-faceted universe of the orca species. I’m interested in creating an environment where we dive into a sensorial relationship between ourselves, letting the perception of our human anatomy evaporate and transform. As the bodies explore the inflatable objects, a living sculpture unfolds. We will attempt to remold the landscape, entering into another realm of dialogue with the audience, surfing through cellular memory awakened by sounds and deep breathing to unlock a group trance.
Choreographer Alexandre Morin
Performers Simon Renaud, Jonathan Goulet, Noémie Dufour-Campeau, Ivanie Aubin-Malo, Chloé Ouellet-Payeur
Dramaturge Angie Cheng
Composer Jonathan Goulet
External eye Line Nault, Nathan Yaffe
Lighting designers Sylvie Nobert, Lee Anholt
Born in the Laurentians, Quebec, Alexandre Morin graduates in 2013 from l’École de danse contemporaine de Montréal, where he is awarded a grant from the Hnatyshyn Fondation for Promising Canadian Artist in Contemporary Dance. He has danced for Marie Chouinard, Sylvain Émard, Dominique Porte, Marie Béland, Sébastien Provencher, Claudia Chan Tak, and Fleuve-Espace Danse, to name a few. In 2016, a grant from the Canada Council for the Arts allows him to participate at ImPulsTanz – Vienna International Dance Festival via the ATLAS, Mapping Future Talents programme. His interests in visual arts bring him to perform in Jimmy Robert’s installation Metallica at the Art Gallery of Ontario in Toronto. Alexandre has presented works at the OFFTA, Festival Zone Homa and Short&Sweet in Montreal. His most recent piece, Breach, is presented by Tangente as part of New Waves 2017.
Noémie Dufour-Campeau completed her professional training at L’École de danse contemporaine de Montréal. Upon graduating, she was recruited to dance in Canadian music group Arcade Fire’s “Sprawl II” video, choreographed by Dana Gingras. She also took part in the second edition of the Fly choreographic project with Toronto-based choreographer Sasha Ivanochko. Noémie has participated in creative processes for La Grande Fente, Lea Tremblay Fong, and Audrey Rochette. In 2017, she participates as an apprentice in a creative process with Frédérick Gravel/GravelArtGroup.
Simon Renaud is a Montreal-based artist. He studied at The School of Dance in Ottawa. He worked for many companies and choreographers such as TDT, Dancemakers, Ottawa Dance Directive, Daniel Léveillé Danse. Also a creator, Simon presented his work in Toronto (Dancematters, p.s. we’re all here, Summerworks, Artspin, Lo-Fi Dancemakers, and She Was), Montreal (Vue sur la relève, OFFTA) and Ottawa (Série Danse 10, Roughcut, ODD is OFF, Hype Frénésie Nuit Blanche, and Les vitrines de l’avant-première). Recently, Andrew Hartley was nominated for a Dora Mavor Moore Award for his performance in Simon’s latest work, l’inanité des bibelots or love would only slow me down.
Upon graduating from the École de danse contemporaine de Montréal in 2014, Ivanie Aubin-Malo met her mentor Curtis Joe Miller who transmitted the Fancy Shawl Dance to her. Honoring her Quebec and Maliseet roots, Ivanie dances and approaches subjects in relation with her indigenous identity. She collaborates with multiple talented artists such as Marie Belzil from Moment Factory, Tanya Lukin Linklater, DJ KXO, Buffalo Hat Singers, Moe Clark, Barbara Diabo, Alex-Ann Boucher, and Soleil Launière. Since 2016, she choreographed and performed in two shows: Ktahkomiq by Ondinnok, and Mito-Jogos de recusa by Marcos Nery, presented at the SESC festival in Brazil. Ivanie transmits her passion by teaching dance to young minds while educating on indigenous culture.
Chloé Ouellet-Payeur is a former gymnast and a graduate of the UQÀM Dance Department and the EDCM professional training program. During her dance training (2010-2016), she performs professionally at Festival TransAmériques 2011 under the direction of Viennese choreographer Willi Dorner, at Montréal Complètement Cirque 2011-2013, and at Festival Cultural de Mayo (Mexico) 2012. In 2016, Chloé presents her creation La Banda (la gang) at Zone Homa festival, and works as a performer for various dance companies such as Destins Croisés, Dave St-Pierre, and Corpus. She is currently working on a crossdisciplinary creation initiated in Mexico with videographer Robin P. Gould and the collective Dans dans salon. Chloé is part of the feminist collective Cool Cunts.
Originally from Ottawa, Angie Cheng studied dance at Canturbury Arts High School and graduated from the Dance Department at Concordia University. She has been an active member of the Montreal dance community for the past 12 years. She has collaborated and worked with David Pressault Danse, MAYDAY/Mélanie Demers, wants&needs danse/Sasha Kleinplatz, Lara Kramer Danse, Thierry Huard, Tedd Robinson, and Nathan Yaffe. Aside from dance, she has also worked in theatre with Hanna Abdel Nour from Quebec City. She is always looking for new challenges in dance and performance, always willing to venture into new territories. She has upcoming co-choreographic adventures with Ame Henderson and Thierry Huard. She is currently doing research for her own choreographic work.
To shovel wings
Myriam Arseneault Gagnon & Laurence Lapierre / Collectif ANAVOLODINE
Mythological figure of our association, Anavolodine is practiced in the studio by means of a perpetual exchange, in movements and words, where the body of one carries away the body of the other. These sessions of uninterrupted creation in the form of improvisations trace the veins of imaginary worlds. This time, the ethereal universe of angels unveiled itself as the starting point of a research on space. This research is carried out by means of an object, the tarpaulin. We wonder what is our real power of action on the dramaturgy of the work by manipulating such matter. Are we the ones transforming it or is it transforming us?
Choreographers and performers Myriam Arseneault Gagnon, Laurence Lapierre
Composer-musician Patrick Moubarac
Artistic advisor Sophie Michaud
Lighting designers Sylvie Nobert, Lee Anholt
Trained in music and writing, Myriam Arseneault Gagnon graduated from the UQAM Dance Programme this year. She exercices her rigor and sensibility as an interpreter for various projects, including a motion research with the Matériaux composites company in 2015 and the reconstruction of Francoise Sullivan’s Droit Debout in 2017. Inhabited by the idea of immanence and transcendence conveyed by the religious universe, she creates Virgin Weight, a solo that she performs at Passerelle840 in 2016. Carried by the benefits of community art, she has offered dance creation workshops as part of an internship in a shelter. Recently, Myriam joined Marc-André Cossette’s master’s project combining dance and new technologies. She can be heard singing in OPMEM’s choir and soon for the film 20-22 OMEGA by Thierry Loa.
Laurence Lapierre obtains her BA in Dance in 2017 from the University of Quebec in Montreal, where she graduates as a choreographer and presents her piece De mémoires ignorantes. She obtained a DCS in Dance from Cégep de Saint-Laurent. As soon as she began cegep, she started creating group pieces as well as solos that she performed. In 2015, she presented Ta nudité m’ennuie et ta pudeur m’emmerde at Passerelle840. It is due to her imagination, her love for cinema, her consistant doubt, and a little bit of madness that she finds herself creating and peforming to this day. She has followed and continues to follow training courses, including one with Jose Agudo in Transformation danse (2016), with Axis Syllabus with the Nomadic College (2015), with the Je suis Julio company (2015), and with Isabel Rocamora at studio 303 (2014). When not in the studio, you can find Laurence on her bike or on a yoga mat. She has been practicing yoga for 7 years and will be completing her teacher training this year.
Patrick Moubarac earned his degree in Music (2004) and Sound Recording and Reinforcement (2015) from the Cégep de Drummondville. Constantly looking for new challenges, he loves going out of his comfort zone and takes advantage of his musicality and his attention to detail in the projects he is involved in. His experience is manifold : he composed over a dozen songs, produced an album and performed at over fifty concerts with the musical projects Ozmundazz and Triodenum (Rimouski, 2009-2014), composed, recorded and mixed for Hippocrate – a Radio-Canada documentary miniseries (Tortuga Films, 2009-2014), composed and did the sound design of Ze Bouddha’s show (Drummondville, 2014), recorded and mixed several pop, jazz and world projects (2014-2017). In parallel to music, Patrick works as a soundman in Montreal and across Quebec. Recently, he worked for Just for Laughs and Montreal’s St-Ambroise Fringe Festival, as well as ensured the technical direction of the Détour festival in Bas-Saint-Laurent and the outdoor events of Pendant ce temps-là à Montréal.
Based in Montreal, Sophie Michaud is specialized in accompanying the creative process in contemporary dance. For more than twenty-five years, she has been evolving both with emerging creators and with established artists as assistant choreographer, director of rehearsals and dramaturgy consultant. As a researcher, she is interested in the phenomenon of perception in the dance viewer and by the communication issues occurring between artistic collaborators. She holds an MA (1996) and pursues her research within the framework of UQAM’s Études et pratiques des arts doctoral program. In parallel to her work in the studio, she develops workshops for the Regroupement québécois de la danse (RQD) and works as a cultural mediator in various contexts.
I strive to create and perform movement that breathes sensitivity rather than the spectacular. I am curious by the organization of bodies as absurd yet natural, stretching perceptions of dis/comfort and casualness. I value cleverness, virtuosity in disguise, and live problem solving. As I develop movement, the result is often absurd and disorienting – qualities I welcome and encourage in an effort to redefine what is organic, human, and comfortable. This piece challenges the information we are given and have access to, what we observe, and how we draw conclusions. In collaboration with photographer and dancer Marie-Ève Dion, photos were taken during movement improvisation. Then we selected which images belong to the creature we wanted to forge and therefore what movements belong to those images. Through this process, I allow the creature of my physicality to emerge. This creature, Look, is on display. Letting go of the confines I usually work within, I allow myself to be vulnerable: a display of Being; an expression of Being.
Choreographer and performer Bailey Eng
Photographer and external eye Marie-Ève Dion
Composer Eric Séguin
Lighting designers Sylvie Nobert, Lee Anholt
Bailey Eng‘s current movement practices stem from contemporary dance, breaking, parkour, contortion, and Chinese pole. She graduated from Concordia University with a BFA in Contemporary Dance, after having studied at L’Ecole Nationale de Cirque and York University. She has done several performances that have allowed her to incorporate dance, circus, and parkour, including works with Andréane Leclerc, Jeff Hall, Compagnie WXWS, La Marche du Crabe, and Les Minutes Complètement Cirque. In addition to being a performer, she is also an emerging choreographer and a coach of acrobatics and dance.
Eric Séguin is a sound artist based in Montreal, Quebec. His work has been featured in installations and live events in Montreal and elsewhere since 2013. Eric’s formal education in Philosophy and Electroacoustic Composition has provided him the tools for creating multi-channel compositions that explore questions in genre identity and group characterization of sound as it exists in space. His work is characterized by a large dynamic range, an exploration of the limits of the human ear, and an interest in the use of lo-fidelity and hi-fidelity treatments of a single source as a means of shaping expectations and doubts about the meaning of contemporary pieces.
A UQAM graduate in Contemporary Dance (Interpretation), Marie-Eve Dion is active in the Montreal artistic field. She has collaborated with many emerging artists, including the companies Le Black Hole and Quatrième sex/GEAN BINDLEY Art. She is also involved in choreographer Chloé Bourdages-Roy’s work, as well as that of the S’Enfarger collective, with Myriam Foisy, Anne Cormerais and Jean-Benoit Labrecque. Marie-Ève is also interested in the visual arts, especially photography. Her artistic approach revolves around the dancing body and is inspired by urban architecture.
“You just feel yourself. You know, that’s why it’s so fulfilling, because it’s real. It’s not just a veneer. It’s not just a performance. It’s really a moment with you.” —Janis Joplin, describing the feeling of singing onstage.
This is the statement that inspired and guided the creation of Summertime. During the solo’s conception, we wanted to uncover the paths that certain meaningful, emotional memories pave in our bodies. We explored those emotions and memories to bring to life the sensations they evoke, to reveal the traces they leave, and to generate a tangible feeling.
Choreographer Marie-Pier Laforge-Bourret
Performer and creative collaborator Natacha Viau
Rehearsal director Marine Morales-Casaroli
External eye Helen Simard
Lighting designers Sylvie Nobert, Lee Anholt
Marie-Pier Laforge-Bourret holds a Master’s degree in Literature – Contemporary Quebec Poetry from the University of Quebec in Trois-Rivières, and completed her Bachelor of Arts in Dance at the University of Quebec in Montreal in 2016. Since then, she has presented her choreography Parking at the Home Run Festival (2017) and danced for Andréa Corbeil in Mont de Vénus at the event You Are Here (2016) and for Rose Eliceiry in her poetic monologue Là où fuit le monde en lumière at the Zone Homa Festival (2017). In her choreography and poetry alike, Marie-Pier explores the concept of disappearances — the passing of time, memory, nostalgia, death, the destruction of a familiar place — as well as family relationships. The minimalism brought forth through her movement evokes everyday gestures and deeds; each movement is reworked or transformed, carrying intention and emotion. She is currently working on several dance projects, while also teaching French as a second language and practicing Pilates.
Wishing to be part of the contemporary dance world, Natacha Viau earned a Bachelor of Arts in Dance from the University of Quebec in Montreal in 2016. Since completing her studies, she has danced in Edward Toledo and Laurence Éthier’s Drop da beat II (Zone Homa Festival), in Andréa Corbeil’s Mont de Vénus (You Are Here — Théâtre aux Écuries) and in Parking, choreographed by Marie-Pier Laforge-Bourret (Home Run Festival). Natacha also collaborated with Ether to create several projects that fuse dance and rock climbing. In 2016, she participated in an intensive aerial dance workshop with Bandaloop in Oakland, California.
Marine Morales-Casaroli is a Montreal-based dancer. She completed a joint theory-practice programme at Lille III University and at the National Choreography Centre in Roubaix (France), and holds a Bachelor of Arts in Dance from the University of Quebec in Montreal (2015). She has since participated in several intensive workshops: Hofesh Shechter Company, Axis Syllabus, and Springboard Danse Montréal. She was a guest dancer at Circuit-Est for their 2016-17 season. Marine has also presented two of her own choreographies at Passerelle840 and has often acted as rehearsal director for emerging artists such as Philippe Dandonneau, Julia B. Laperrière, and Marie-Pier Laforge-Bourret.