Le rôle des femmes dans le développement des pratiques chorégraphiques expérimentales à Montréal dans la seconde moitié du XXe siècle

The author points out that during the second half of the 20th century, women contributed greatly to the development of experimental choreographic practices in Quebec, notably by valuing risk-taking and rejecting academicism in art, by creating flagship modern and contemporary dance companies with which they developed distinctive, sometimes feminist, choreographic signatures, and by founding dance training and dissemination institutions that would be crucial to the expansion of Canadian choreographic art. Among the individuals noted by the author is the Australian-born Elizabeth Langley who came to Montreal in 1979 where she developed a Bachelor of Fine Arts Contemporary Dance degree at Concordia University, geared to training choreographers as well as technique, and become the first Chair of the Department of Modern Dance (renamed Contemporary Dance in 1987) when it was launched in 1980-1981. The author notes that from the inception of the program, it was hoped that the teaching offered in this Bachelor's program would focus particularly on the creative process and choreography, with the objective that students would develop their personal artistic vision, that they would learn through experimentation and that they would have the opportunity to contribute to the dance milieu through the development of original creations.

Études canadiennes / Canadian Studies

Vol. 88

269-299

2020

fr