Festival Altérité, pas à pas!

OCTOBER 17. 18. 19, 2019 - 7:30PM

OCTOBER 20, 2019 - 4PM

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DISCUSSION WITH THE ARTISTS ON OCT. 18

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OCTOBER 17 - 7:30PM

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OCTOBER 18 - 7:30PM

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OCTOBER 19 - 7:30PM

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OCTOBRE 20 - 4PM

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The order of the pieces is subject to change.

1st work - 27 minutes

Elad Schechter (Israel)

Premiere

This dance is a rare collaboration between a Muslim dancer and a Jewish choreographer. The work is a sort of protest, a performance originally staged in the Western part of the city where they were both born and raised, Jerusalem. Rand and Elad seek to reveal various aspects of Arab culture. She places a Walkman, a Polaroid camera and a mobile phone onstage, converses live with her mother, listens to an Algerian love song. She wears a layered costume revealing the colours of the Palestinian flag. Her masbacha (Arabic rosary) inspire movements that push the limits of physicality.

Production c.a.t.a.m.o.n Dance Group in Jerusalem

Choreographer Elad Schechter

Performer Rand Ziad Taha

Lighting designers Daniel Yehuda Spector, Benoit Larivière

Costume designer Adi Yair

Music Yuma

Produced for From Jaffa to Agripas festival 2018

Rand Taha and I met at the Jerusalem Academy of Music and Dance. We started working together right after she finished her bachelor’s degree there. We found a mutual language in movement and we laughed a lot in the process of creating Premiere as a personal solo revealing Rand’s cultural background. We realized that we share an understanding that life is seamed from bits and moments, and we found pleasure in just being, creating, moving next to each other; making a strong statement by overcoming an obvious obstacle and focusing on creativity as a path for partnership.

Born and raised in Jerusalem, Elad Schechter has been creating dance pieces since 2009. In 2012 he founds c.a.t.a.m.o.n Dance Group in Jerusalem. His works have been presented hundreds of times in Israel and abroad, and have received the highest acclaims. Elad is the recipient of the silver medal at the Beijing International Ballet and Choreography Competition in 2011. c.a.t.a.m.o.n Dance Group, under Elad’s artistic direction, is a young cultural organization that maintains a dialogue with the Jerusalem audience in all its diversity, while presenting its work to audiences around the world. Alongside his artistic work, Elad is developing projects that aim to promote dance, art, and the culture scene in Jerusalem. Elad founded the From Jaffa to Agripas festival, curated Alliance House – a home for creative communities – and more recently, Interstices, a Montréal-Jerusalem choreographic exchange program in collaboration with Tangente.

A Palestinian dancer from Jerusalem and a BA graduate from the Jerusalem Academy of Music and Dance, Rand Ziad Taha is a member of the Academy’s Ensemble for three years and of the excellence performance program. In her senior year at the Academy, she wins 3rd place in the annual Gerturde Strauss Choreography Competition 2018. Rand is chosen for the Henny Jurriens Summer Intensive scholarship 2017 in Amsterdam. In 2018, she performs as part of the B12 Performance project with Helder Seabra. Rand performs with c.a.t.a.m.o.n Dance Group and participates in the CINARS Biennale 2018 in Montréal.

Adi Yair is a fashion designer based in Jerusalem with a BA in Jewelry and Fashion from the Bezalel Academy of Arts and Design. She weaves her fabrics by hand on a traditional loom that she uses in a nonstandard way to produce unique materials. She has developed tools and techniques to create woven textures and printing interpretations that speak her own language. Her work combines a traditional technique and a contemporary style that demonstrate a balanced aesthetic of simplicity and sophistication. Adi explores the tension between art and fashion, and retains core values such as balance, logic, and renewal.

Benoit Larivière has created lighting designs for many productions, working in theatre and music, but mostly specializes in dance. Some of his main achievements include multiple contracts signed with various dance companies such as Tentacle Tribe, 100 Lux, Helen Simard, and Ebnfloh, in addition to working with choreographers such as Ford, Monstapop, Claudia Chan Tak, and Nasim Lootij and theatre companies Multisens, Les Exclamateurs, and Les Écorchés vifs. He approaches lighting in a collaborative spirit with the choreographer/director, drawing his inspiration from their creative universe, always placing great importance on their creative vision. Darkness and absence of lights are major aspects of the way he works, always searching for ways to create images that are independent from the space, the venue in which the creation takes place, or modifying this space.

2nd work - 30 minutes

Nasim Lootij & Kiasa Nazeran

La Chute

Works of art were destroyed, music and women’s singing forbidden, dancing banned. Nasim sheds light on the tragic story of the Iranian people, who were brutalized by violent events in recent history. She struggles to stand, resisting hostile forces. The lighting fragments her body into tree branches, a dramatic metaphor for the previous efforts of musicians suddenly unable to create a national music meant to unite the various ethnic groups. This neo-expressionist choreography gives voice to these artists and to the resilient men and women of Iran.

Production Vâtchik Danse

Choreographer, performer and sound designer Nasim Lootij

Dramaturge and sound designer Kiasa Nazeran

Lighting designer and technical director Benoit Larivière

Sound engineer Alex Lachapelle Raymond

Artistic advisors Sophie Michaud, José Navas

Residencies Louise Bédard Danse, José Navas/Compagnie Flak

Video and documentation Fondation Jean-Pierre Perreault: Frédérique Rivest, Lise Gagnon

With the support of Conseil des arts de Montréal

This creation benefited from Conseil des arts de Montréal’s DémART–Mtl program in collaboration with Fondation Jean-Pierre Perreault and José Navas/Compagnie Flak.

After having reached its peak in the 1920s, German Expressionism fades away with the works of Pina Bausch. Since the beginning of the twenty-first century, this aesthetic has attracted a new generation of choreographers, mostly from troubled regions of the world. These artists found an opportunity to expose their sufferings through the aesthetics of German Expressionism. Having an Iranian origin, we’ve also drawn inspiration from this movement that played an important role in shaping the modern art.

The dramaturgy of the solo La Chute (The Fall) draws inspiration from both the language of the body and the language of music. As we explored precise and contrasting qualities of the body, inspired by the movements of Iranian dances, we simultaneously created the soundtrack from pieces of the repertoire of Iranian music, some of them originally used for the composition of a national music, others from the folk culture of different regions within Iran. Another element present in this piece is light, an intense light that fragments the body, that reveals and exposes its weaknesses and strengths.

Choreographer, performer and teacher, Nasim Lootij began dancing in Iran, where this art was banned following the revolution of 1979. After practicing traditional Iranian dances in the clandestine courts of Tehran, she settled in Paris in 2006. For eight years, she studied contemporary dance at Paris 8 University, RIDC, and the Jean Wiener Conservatory and specialized in Laban Notation at CNSMDP. She collaborated with Odile Duboc, Christine Gérard, Natalie Pernette, Dominique Dupuy and Nawel Oulad and created two pieces: Lalaï (2012) and Bouyé Jouyé Moulian (2015). In 2014, she moved to Montréal where she created the solo Moi-Me-Man (2017) in collaboration with Kiasa Nazeran, the dramaturge with whom she collaborated for 9 years and co-founded the collective Vâtchik Danse in 2019. Recently, Nasim received a bursary from the Montréal Arts Council’s Dem-Art MTL program in collaboration with Fondation Jean-Pierre Perrault, Compagnie Flak, and Tangente to create La Chute.

Researcher, director, mime and dramaturge, Kiasa Nazeran began his career in Iran as a translator focusing on plays. After studying and working professionally as a director and actor in Iran, he moved to Paris in 2009 where he attended the Jacques Lecoq School and Académie Européenne du Théâtre Corporel. He then completed a master’s degree in theatre studies at the Sorbonne Nouvelle University where he has been teaching mime since 2014. He is currently writing a doctoral thesis at the University of Franche-Comté on the history of organicity in the work of european actor from Stanislavski to Grotowski under the direction of Guy Freixe and in collaboration with Odin Théâtre (Eugénio Barba / Denmark) and Théâtre du Mouvement (Claire Heggen / Paris). For the past 9 years, he’s been collaborating with Nasim as a dramaturge and co-founded the collective Vâtchik Danse in 2019.

Benoit Larivière has created lighting designs for many productions, working in theatre and music, but mostly specializes in dance. Some of his main achievements include multiple contracts signed with various dance companies such as Tentacle Tribe, 100 Lux, Helen Simard, and Ebnfloh, in addition to working with choreographers such as Ford, Monstapop, Claudia Chan Tak, and Nasim Lootij and theatre companies Multisens, Les Exclamateurs, and Les Écorchés vifs. He approaches lighting in a collaborative spirit with the choreographer/director, drawing his inspiration from their creative universe, always placing great importance on their creative vision. Darkness and absence of lights are major aspects of the way he works, always searching for ways to create images that are independent from the space, the venue in which the creation takes place, or modifying this space.

ISBC is a sound design and music composition collective led by Alex Lachapelle Raymond. They have created works for dance, theatre, cinema, interactive technology, and virtual reality.

Based in Montréal, Sophie Michaud specializes in the creative process coaching in contemporary dance. For almost thirty years, as a choreographer, rehearsal director and dramaturgy advisor, she has worked with emerging creators and established artists. As a researcher, she is interested in the phenomenon of watching perception and studio intervention strategies. Holder of an MA (1996), she also completed her postgraduate education in Arts Studies and Practices (UQAM, 2018). Leveraging her diverse experience of creation, along with her many artistic engagements, she acts as a consultant, trainer, and cultural mediator.

Founder and artistic director of Compagnie Flak, José Navas carries out his overall artistic approach in three distinct ways: he dances with intensity in solo shows charged with emotion; he constructs abstract and captivating group pieces; and he creates pieces of contemporary ballet with classicism and sensitivity. As guest choreographer for prestigious ballet companies, he created an iconoclastic version of Giselle (2013) for Ballet BC, Watershed (2013) for the National ballet of Canada, and nouement/Auflösung (2015) for the German company tanzmainz. He has performed his latest solo show, Rites, many times in Europe and Québec. An Associate Dance Artist of the National Arts Centre, José Navas has presented his work in 30 countries in the Americas, Europe, and Asia.