février 11, 2013
3 notes

deuxtrousrouges:

Le Dortoir

watched this in uni and someone’s finally uploaded excerpts of it to youtube! fantastic montreal dance production (carbone 14 company), directed for tv by francois girard. 

Ce que je remarque dans Le Dortoir (1988) :

Le quotidien, les objets ordinaires utilisés de façon polysémique, les danseurs habillés en chemise-pantalons ou simple robe aux couleurs neutres, ce sont des thèmes qui sont associés au Judson et avec Anna Halprin dans les années 60-70. Ce qui est différent dans ces productions des années 80, je pense, c’est le côté narratif : l’onirisme, l’intensité tragique. Alors qu’Anna Halprin faisait habiller et déshabiller ses danseurs sans histoire ni climax, Gilles Maheu et Carbone 14 amplifient les gestes et les objets quotidiens, il y a une magie qui se dégage de la réalité.

janvier 14, 2013
5 notes

When I first came to Canada, the idea of a technique met with resistance. People would say, “This is African dance, why is there so much discipline?” And if I were to be contemporary, many people thought it needed to be a fusion with Western dance. Instead, to me, being contemporary meant that I was exploring these African forms. Africa was its own world. Its modernity was never the same as in the West. Contemporaneity deals with the way people live everywhere, the way their society is organized, and so on.

–

Zab Maboungou

in Anderson, Carol. “Enter, Dancing, Narratives of Migration.”Http://www.dcd.ca/exhibitions/enterdancing/maboungou1.html. N.p., n.d. Web.

juin 19, 2012
1 note

The magnitude of the gamelan and the small eye movements deliver a sharp contrast, and bring power to the character portrayed by Annick Brault.

In 1986, the Indonesian government gave two Balinese gamelans to the Université de Montréal. Music students loved it, and great masters came in Montreal to teach the intricate rhythms. In 1994, the gamelan group Giri Kedaton was created.