Débile métal + we used to see this
Nancy Gloutnez / Sol Majeur
6 step dancers, one director, one sound space
An ounce of root in perpetual mutation
The madness of an imposed world
Listen, feel the whole in the ground
Classically trained as a pianist, the musicality of the gigue is at the core of her artistic approach. Composer, performer, step dancer, she understands and explores elements that are inevitably connected, the visual and the auditory, and reveals the subtleties and complexity of contemporary gigue in its authenticity. Her work bears witness to her passion for rhythm and her great respect for the gigue, which vocabulary she juggles with, always searching for a more refined form.
Anne-Sophie Leblanc, Ian Yaworski, Antoine Turmine, Philippe Meunier, Louis Gloutnez, Jonathan C. Rousseau
Musicality and poetic beauty of gigue are at the core of my artistic approach. Formed as a musician and step dancer, I’m passionate about rhythm, poly-podorhythm. With my expertise, I reorganize its vocabulary, working with its different parameters in search of transforming the character of a specific step, through musicality, interpretation, emotion, direction. The visual and auditory are treated inseparably, without any hierarchy. I’m devoted to treating gigue like a musical instrument, subtly.
Choreographer, step dancer and musician trained at McGill, Nancy Gloutnez works with the vocabulary of the gigue of Quebec. Her minimalist approach to the different parameters of the gigue (rhythm, musical form, sound treatment) opens to a new perception, in its musicality and poetic beauty. This composer, performer, step dancer understands and explores elements that are inseparable, movement and sound, and seeks to reveal the subtleties and complexity of contemporary gigue in its authenticity. Founding member of Bigico, Nancy actively takes part in numerous contemporary gigue projects in dance and video. Moved by a profound desire to assert herself in her hybridity, Nancy Gloutnez is committed into choreographic creation since 2005. Her works Stereo (2005), Surround (2006), ZoNdes (2007), Études de Sol Majeur (2011) and Les Mioles (2013) bear witness to her passion for rhythm and her great respect for the gigue, which vocabulary she juggles with, always searching for a more refined form.
we used to see this
Join Meena as she journeys through fragments of bharata natyam, revisiting rituals, sounds, spaces and archival films through a contemporary lens. From multiple audience perspectives, we used to see this creates at once the intimacy of a salon within a theatre space. Can she de-orientalize the dancer?
we used to see this is an installation performance work that re-choreographs, deconstructs, and layers some of the disparate spaces that bharata natyam has been performed in over the centuries: the classical proscenium stage, the 19th century Indian salon, and the temple. we used to see this invites audiences to experience chosen fragments of bharata natyam’s past and present, revisiting classical Indian dance movement, rituals, sound, space, and film within an installation setting. Join Meena as she journeys through a dance that is simultaneously seen as traditional, classical, modern, colonized, orientalized, and re-constructed, depending on one’s perspective. Re-writing. Re-interpreting. Re-imagining.
Choreographer and performer
d. Sabela Grimes