Where is the Love?

Scanning the rosters of Europeans festivals, dance centres, companies, and schools, you’d think Canadians are everywhere in Europe. Truth be told, this kind of fervor isn’t the kind of love borne out of infatuation. It’s a relationship that is purely tactical. Institutional support from both the Canadian and Québec governments, and associated arts councils, in concert with European investment, helps make this love – and the chauvinism that surrounds it – happen

Over the last century dance has traveled from continent to continent, shifting its focal points of creativity and intensity. Historically, the fluctuating cartography situates long traditions in Berlin, Paris, and London. In the mid-1980s rejuvenation occurred in places like Brussels, Ljubljana, Barcelona, and Montéal.

Guy Cools, the former dance programmer and artistic coordinator at the Vooruit Arts Centre in Ghent, who was named artistic director of Mon­tréal’s Fondation Jean-Pierre Perreault in its final days, takes the view that artistic identities, indivi­dual qualities and geographic content are linked. “There were new territories – where a group of individuals, and dialectics between them, started to be powerful.”
Montréal rose up as a key centre of dance invention, Cools speaks of a generation of choreographers, led by someone like Paul-André Fortier, “who didn’t necessarily have international recognition, but who influenced a generation.” In fact, there was a diversity of voices within Montréal’s ranks, including artists ranging from Fortier and Perreault, to Édouard Lock, Marie Chouinard and Ginette Laurin. Equally important, the dance community managed to organize itself ...

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Tanz Oktober 2005
Rubrik: Die Kanadier kommen, Seite 30
von Philip Szporer

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