Over the past decade, researchers have been publishing data on the benefits of physical activity on the brain as we age. We’ve learned that higher levels of physical activity lead to lower risks of developing cognitive decline and dementia, that greater levels of aerobic fitness and brain health seem to be strongly associated, and that other types of exercise like resistance and coordination training (as opposed to just cardio) can also improve cognitive abilities. But for many people the motivation to exercise is lacking. What about dance as a more enjoyable way for attenuating age-related decline? Does it have all the necessary components to do the trick?
A group of scientists, gerontologists, neuropsychologists, kinesiologists, dancers, dance movement therapists, and graduate students came together to try and answer those very questions in a scientifically rigorous manner. The way we did it was to compare the effects of Dance/Movement Training (DMT) to Aerobic Exercise Training (AET) on indicators of cognition, physical fitness and health-related quality of life measured before and after a 3-month training program. Sixty-two healthy individuals over 60 years old and who were not meeting the guidelines for engaging in a minimum of 150 minutes of moderate intensity exercise per week were randomly assigned either to an AET, a DMT or a control group (i.e., continuing their regular routine). Three times per week, the AET and DMT groups came to the research centre gym facilities and participated in their group’s physical activity for 60 minutes. Based on previous literature, the research team hypothesized that after 3 months:
The DMT and AET groups would improve cognition,
The DMT group would have the best improvement in health-related quality of life, and
The AET group would have the best improvement in cardiovascular fitness.
It turns out only the third hypothesis was clearly confirmed, that is AET led to better cardiorespiratory fitness. But DMT had an important impact on chronic stress as indicated by a reduction in cortisol, the well-known stress hormones. This research project ended up guiding us to many more questions than answers. Here’s just a few of those questions:
How do we name the key ingredients that make up a dance class?
To what extent is the instructor’s teaching style impacting the experience?
Are the standardized measurements currently used in research really measuring the right things for a dance class?
How much dancing and at what intensity is needed to have an effect?
Is the social component of partaking in a group dance class playing a role? In what way?
How is the presence of music and/or the type of music used in the class impacting the experience?
Can you standardize a dance class enough to evaluate it and reproduce it without losing what makes it special?
Dancing is much more complex than a variety of exercises thrown together. Research on the benefits of dance still has a long way to go but it is gaining in momentum and it is being conducted more and more with the expertise of interdisciplinary research teams. Funding agencies, health care providers, and policy makers are also starting to pay attention to the emerging field of dance and health as it has the potential to be an affordable, accessible, and attractive type of physical activity that can also be promising in promoting healthy aging. So, does dance have it all? You might already know the answer for yourself, but the science is still catching up!
Photo credit : Karine Kalfon
For the full research paper and related research see:
On Tuesday, May 30, 2023, an online information session was held regarding significant changes to the Act respecting the professional status of artists, known as Act S-32.1. Co-hosted by Pascale Bureau, socio-economic advisor for artists and cultural workers at the Ministère de la culture et des communications du Québec, and Sophie Préfontaine, experienced lawyer in the cultural sector, this session attracted the participation of 44 members.
The speakers presented the context surrounding the Act S-32.1, specifying that this Act applies to artists and producers providing professional services in various artistic fields.
Before the adoption of this Act, two distinct laws governed the minimum conditions for artists in Quebec since the 1980s. The new Act now encompasses all artists and aims to establish, harmonize, and modernize the rules concerning the professional status of artists and working conditions. It also defines the conditions for recognizing the status of professional artists and artist associations.
The Act brings important additions, such as a collective bargaining mechanism to improve the socio-economic conditions of artists represented by associations, the inclusion of digital arts in the definition of visual arts, as well as the obligation for a recognized artist association to fairly represent its members. Additionally, the Administrative Labor Tribunal, which previously had the mission of recognizing associations, now has new powers, notably to enforce collective agreements and take measures in cases of psychological harassment at work, a process for which artists will now be able to receive accompaniment, among other additions. Finally, the Act grants the Minister of Culture and Communications of Quebec regulatory power to establish minimum conditions for an artistic sector.
The session was enriched by the members’ questions, generating keen interest and raising important concerns to be addressed in information sessions that will be organized by the RQD to continue discussing the subject of working conditions for dance artists.
Resources against psychological harassment at work, available on the RQD website, were made available to participants who attended the session.
As I geared up for Dancer Transition Resource Centre’s (DTRC) annual event “Industry Connect, ” for which I was a guest speaker this past weekend, I found myself reflecting on what I’ve learned throughout my dance career to ensure it is sustainable. Although I could write a book on what I have discovered throughout my career, one of the things to keep in mind when one is an emerging dancer is not what you might expect. And that is, rest. It seems counter-intuitive to tell emerging dancers to make time for rest, but I believe it is essential to their physical and mental well-being.
On a physical level, rest provides our body the precious time necessary to rebuild micro-tears we’ve made during training. After rest, we come back stronger than before and therefore have a strong corporeal foundation to meet the physical demands of our craft. Rest in the form of sleep is crucial for our brain’s capacity to retain information, process our experiences, and (in terms of dance) consolidate movement that at first may be complex, but after a night’s rest, will be easier to execute than before.
Dancers: Janelle Hacault with Sara Harton and Emmanuelle Martin, Photographer: Alexandre Carlos, Choreographer: Kyra Jean Green/Trip the Light Fantastic, Title: “No One’s Home”.
But sleep isn’t the only form of rest that we ought to take into consideration. In my experience, the times I took even for a few minutes during my lunch break to tap into my breath, had a positive ripple effect in my day. The practice of self-regulation, be it meditation, mindful breathing techniques, yoga, somatic movement, or even prayer, significantly serves our ability to be resilient. Resilience is one of the most important qualities a dance artist can have for their longevity in this rewarding yet challenging line of work. We need to call upon our resilience in times of disappointment, loss, rejection, and stress. Yes, the world of dance is a magical place where humanity is celebrated and explored. But the business world of dance is not for the faint of heart. So, what do we do when seasons of financial uncertainty are upon us, when we don’t receive the grant we had our hearts set on, when the company we auditioned for does not choose us for the project? We don’t quit, we rest. We take a moment to tap into our body’s intelligence and we breathe. We self-regulate. Coming back to the basics of breath, grounds us in the present moment. This makes way for better clarity. Instead of “trying to figure it all out” with our minds, we dial into “what is” here and now through our body. In this space, we will see the blessings in disguise, we will notice opportunity, we will have the grace to surrender and trust the process. Oh, I know this is WAY easier said than done. But, as author Glennon Doyle declares over and again, “we can do hard things’, and in this industry, we will be asked to do hard things.
Dance artists are generous. We are asked to be vulnerable, open, and give everything we’ve got. But we also need to be tough, resilient and discerning. This balance of softness and strength is what will sustain us in this career path. When we are constantly giving, opening and delivering, how do we refresh, refuel and give back to ourselves? We rest. We have daily rituals or habits that ground us.
Growing up, my family did not know the meaning of rest. Purpose and value were defined on how productive we were, how much we accomplished and what we earned. Thankfully, a new wave of being is emerging. As the world’s “machine” continues in vain, with the message of “produce, produce, produce”, it is important as artists to stop, rest, and reflect on what we are creating and why. It’s all too easy to use the same worldly value of “product over progress” and apply it to the world of dance, but we must resist this temptation. Taking time to not only rest, but give space to what we create will only enrich it. Forcing our muscles to grow or our art piece to emerge before they are ready will only create more problems. The key is to tap into the rhythm and life force of your own body and our craft. What does the work/our body/this choreography need right now? Maybe it is a push, time to percolate, or maybe it is a good night’s sleep.
Below is an exercise for the next time you feel overwhelmed, confused, stressed or emotionally triggered:
Stop everything and find a safe quiet place to sit. Sometimes the bathroom works wonders for this.
Close your eyes and take 3 deep slow breaths. Having your exhale longer than your inhale will help activate your parasympathetic nervous system to bring more calm.
Ask, “what do I need right now?” And without doubting or overthinking, do that. If you can’t do the thing right there, make an agreement with yourself that you will do it at a specific time later that day.
Other forms of support include journaling 3 pages without thinking, calling on a trusted friend, talking with a counselor or professional mental health specialist (DTRC offers free counselling programs), sharing with a mentor or elder.
Janelle Hacault is a professional Filipino/French-Canadian contemporary dance artist, choreographer, teacher, actor and coach based in Montreal, QC. She is a graduate of the School of Contemporary Dancers Senior Professional Program in Winnipeg, an actress by training, and holds an Honours B.A. from the University of Winnipeg. She was co-founder of Nova Dance Collective, 6 Ricochet and co-creator of thedancepost.org. She has had the privilege of working with Nafro Dance Productions, Ming Hon, Compagnie Entitey/Jason Martin, Trip The Light Fantastic (Kyra Jean Green), Charles-Alexis Desgagnés, Morgane LeTiec, Andrea Peña, Sylvain Émard Danse, Les 7 Doigts de la Main, Wynn Holmes, Ani Taj, and Sam Pinkleton have all been nominated for Tony Awards. In 2021, she participated in the 3rd season of Revolution, created her new work at the Festival Quartiers Danses entitled Ce Moment Où… broadcast on MaTV and co-created an original musical with collaborator/musician Jeremy Walmsley entitled, Ships. In 2022, Janelle worked with Sylvain Émard Danse (SED) and 19 other dancers on the show Rhapsodie, presented by Danse Danse, performed Les Préludes (SED) in Trois-Rivières, and toured Annie : la comédie musicale (directed by Serge Denoncourt and choreographed by Wynn Holmes) in Montreal and Quebec City for Just for Laughs. In addition to performing, Janelle has a coaching practice and an online embodiment session that blends dance and meditation.
A fresh wave of passion and determination is about to sweep through the dance world as the Regroupement québécois de la danse (RQD) launches its long-awaited membership campaign. Starting June 8, professionals, organizations and all players in the professional dance ecosystem will have the opportunity to join this vibrant community and celebrate every step as a victory.
Under the inspiring motto “Every step a victory”, the RQD wishes to remind us of the importance of recognizing and valuing individual and collective achievements in the field of dance. Each step taken represents a further step towards personal fulfillment and professional advancement, but also a step forward in our demands and the battles we wage on a daily basis. The RQD’s membership campaign aims to bring together passionate professionals who share this vision, and to offer them a host of exclusive benefits.
Becoming a member of the RQD gives you access to a customizable member space, where you can present your profile, share bulletin board announcements and events, and benefit from exclusive discounts. In addition, membership entitles you to take part in classes and training courses offered by the RQD at advantageous rates. Thanks to the Training Support Program, eligible members will also have the opportunity to receive annual financial assistance to keep their fitness at its peak.
The RQD plays an essential role in the promotion and development of choreographic art in Quebec. By joining this dynamic community, members will have the opportunity to connect with their peers, establish strong professional ties and participate in exclusive events. What’s more, the RQD actively represents the interests of its members and contributes to the improvement of dance practice conditions.
“We are proud to launch this membership campaign, which celebrates the victories and advances of every professional in the sector,” says Nadine Medawar. “Dance is a demanding discipline that requires perseverance and continuous investment. At the RQD, we believe in the strength of community and are committed to supporting our members on their journey. Join us and be part of a community that recognizes and celebrates every step as a victory.”
The RQD membership campaign kicks off on June 8, 2023. Don’t miss this unique opportunity to join a community dedicated to the advancement of dance in Quebec.
On April 28, 2023, the Regroupement québécois de la danse (RQD) and the dance community celebrated International Dance Day (IDD) at the Atrium of Les Grands Ballets Canadiens. More together than ever, the event brought together nearly 90 people from all walks of life to celebrate dance.
This year, the RQD chose to deliver a message of solidarity with the theme Dance as a symbol of life, which was presented in the form of a video directed by Damian Siqueiros and choreographed by Kyra Jean Green in collaboration with Nasim Lootij and the performers.
Before the unveiling, RQD Executive Director Nadine Medawar gave a powerful speech, reminding us of the value of solidarity in the dance community. She emphasized the resilience and collective intelligence of the community, while acknowledging the fears that have sometimes shaded the collective. She encouraged the sector not to let external challenges drive it apart and to continue to fight for its art.
The screening was followed by a speech by the filmmaker and the choreographers of the message to share their inspiration and support for those who love dance passionately. Performers Janelle Hacault, Emmanuelle Martin, Marco Edouard, Elahe Moonesi, Professor Word and Simin Ahari were also present for this moment of celebration.
Nadine Medawar, directrice générale du RQD
Artistes signataires de la JID
Nasim Lootij, Chorégraphe et interprète
Dévoilement du message québécois de la JID
Artistes signataires du message la JID 2023 : Elahe Moonesi, Max Machado, Simin Ahar
The evening concluded with the Ultraviolet show presented at Théâtre Maisonneuve of Place des Arts thanks to the generosity of Les Grands Ballets Canadiens, a great opportunity to thank the community for their precious presence at this time. The RQD is proud to be able to bring the dance community together to celebrate this essential art.
Iranian interpreters from the message speak out
To amplify the message, three Iranian signatory artists expressed themselves freely in an interview directed by Damian Siqueiros. This interview is divided into 3 parts and features the heartfelt testimonies of Nasim Lootij, Elahe Moonesi and Kiasa Nazeran.
At the invitation of the Regroupement québécois de la danse (RQD), ten artists deliver a message of solidarity to free the expression of the body and claim this right for dance professionals everywhere on International Dance Day.
Québec message for International Dance Day featuring Nasim Lootij, Elahé Moonesi, Thibault Rajaofetra, Lakeysha Lyrykz Desmond, Diana León, Janelle Hacault, Kiasa Nazeran, Emmanuelle Martin, Marco Edouard, and José Flores, choreographed by Kyra Jean Green and Nasim Lootij, directed by Damian Siqueiros, filmed by Max Machado, and produced by the Regroupement québécois de la danse.
Celebrating dance as a symbol of life is the message from Québec in 2023. This campaign pays tribute to and draws inspiration from videos of Iranian artists using dance as a means of resistance and protest, despite the fact that this art form is forbidden in their lives. Dance brings us together and reflects who we are. It belongs to everyone and anyone can claim it. This video is a love letter and a message of support to those who passionately love dance and risk everything to practice it.
“Dance is in my veins […] The youth in this movement celebrate life through dance.” Nasim Lootij
“As I slide down the rough black rocks like pure liquid gold, I feel like I can overcome any obstacle with my dance.” Elahé Moonesi
“It allows me to keep my creativity moving, that’s what dance is for me : My creativity engine.”Thibault Rajaofetra
“Languages passed down through time & sound, spoken through the physical body, pulling from our experiences (Life), giving us somehow a sense of balance within our imbalances. To Dance Freely & Unapologetically Is To Defy Gravity With The Forces Of Nature.”Lakeysha Lyrykz Desmond
“Dance is what reminds me who I am, it is my home, my source of peace.”Diana León
“At the age of 9, I stepped into a theatre and knew I was home.”Janelle Hacault
“Dance is the outpouring, the eruption of the forces of life. Whereas a religious totalitarianism, fanatical and obscure, it is the reign of the forces of the death. It is thus the fight between the forces of life and the forces of death.”Kiasa Nazeran
“Dance aligns my being: it vibrates my soul, my body and my spirit as a whole with Nature.”Emmanuelle Martin
“For me, dance is an art where everyone can speak freely and understand each other, regardless of the language barrier that may separate us.”Marco Edouard
Multidisciplinary Artist for impact Damian Siqueiros uses art to create positive narratives about the future that lead to healing social and ecological environments. His current project, Terra Sapiens, focuses on representing viable positive futures that stem from the convergence of science, traditional indigenous knowledge, philosophy, art and design. He approaches social and ecological challenges looking for solutions through a synergetic approach. Siqueiros’ has 20 years of career and multidisciplinary practice: photography, expanded film, art direction and art education. He has exhibited internationally including at the Carrousel du Louvre, the Frost Museum, Mexico, South Korea, Canada, and New York.
Kyra Jean Green is a Canadian- American artist born abroad in France, raised in Florida, and currently residing in Montreal, Canada. She obtained her BFA in dance from The Juilliard School in 2006.. After ten years of working as a dancer in 2017, Kyra decided it was time to create her own company which she named Trip The Light Fantastic. The company involves dancers, visual artists, and filmmakers based in the Montreal community. The company’s movement language combines contemporary and urban styles as well as structured improvisation. Trip The Light Fantastic dives toward the harsh realities of the individual psyche and the social stigmas that prevent us from reaching our own true liberation. These questions are asked through dance and mixed media in order to inspire positive change in our society. The company made its debut in September 2017 at the Festival Quartiers Danses in Montreal Canada and has since performed in Panama, Denmark, New York, and Portugal. The company in 2021 was invited to participate in C2 as the in-house dance company.
Max Machado is a versatile cinematographer who moved a bit around the globe before finding home in Montreal, QC, Canada. He is passionate about creating meaningful, unique and powerful content through fiction films, documentary projects, music videos, art pieces, branded content and commercials. He has shot projects in North America, South America, Europe, the Middle East and is ready for travelling abroad and working with English, French, Portuguese, Spanish or Galician speaking crews.His work has been showcased at CBC, PBS, SXSW, Camerimage, TIFF, Slamdance, Vimeo Staff Picks, Canadian Society of Cinematographers Awards, Canadian Screen Awards, Global News, IDFA, RIDM, DOC NYC, Fantasia, Raindance, Ann Arbor FF, Atlanta FF, Regard, It’s All True, FCVQ, VIFF, Clermont-Ferrand, Nouveau Cinéma, RVQC, Newark IFF, and many more.
Revolting against the prohibitions imposed by the current Iranian regime on all forms of art, especially dance, Nasim Lootij, choreographer and performer, left Iran in 2006. After arriving in Paris, she completed her studies in contemporary dance at the University of Paris 8, at the RIDC and at the Jean Wiener Conservatory before specializing in Laban notation at the CNSMDP. She has also collaborated with several French choreographers, such as Odile Duboc, Christine Gérard, Natalie Pernette, Dominique Dupuy, Alban Richard, Cecile Loyer and Nawel Oulad and has created two pieces: Lalaï (2012) and Bouyé Jouyé Mouliân (2015). Since 2016, she lives and works in Montreal where she co-founded the collective Vâtchik Danse with playwright Kiasa Nazeran. In their creations, they are often inspired by the art and history of Iran, current political issues and German expressionism. Their creations: Moi-Me-Man (2017), La Chute (2019), L’Inconsistance (In progress), Espace Politique (In progress). Nasim has also choreographed dance scenes for two films and a play: ‘Damascus Dreams’ (2019), ‘Nowhere Land’ (2020) and ‘Black Baloon’ (2020). As a performer, she has danced for France Joffrey (2016), Su Feh Lee (2017), Amplement Danse (2021-2023), Kondition Pluriel (2021-22) and Amour Amour (Ongoing) . She has also collaborated with two dance institutions, Fondation Jean Pierre Perreault and RQD (board member) and has given dance workshops at MAI and Studio BIZZ.
She started her profession in 2001 and graduated from Sooreh University in 2004 with her BA in Theatre directing. Due to her passion for contemporary dance, over many years she has done extensive research on its different techniques and styles, and has participated in different European workshops and courses to broaden her knowledge in the field. She has contributed to the development and the progress of contemporary dance in Iran through many plays that she has directed, choreographed and danced in.
KIASA NAZERAN
Due to the hardening of political conditions, Kiasa Nazeran was forced to abandon his profession as an actor and playwright in Iran and move to France in 2009. In Paris, he deepened his theoretical-practical knowledge of theatrical art by attending the Jacques Lecoq School, the European Academy of Body Theatre, the Sorbonne Nouvelle University and the Bourgogne-Franche-Comté University where he defended his doctoral thesis in October 2020. In order to put his knowledge of the art of dramaturgy to the test on stage, in 2016 he founded the collective Vâtchik Danse in collaboration with choreographer Nasim Lootij. Keen to re-present the political issues and culture of his home country (Iran) to Canadian audiences, he dramaturged “Moi-Me-Man” (2017) and “La Chute” (2019). Adopting an expressionist aesthetic allowed Kiasa to reveal the current anxieties of the Iranian people in these two solos. From the onset of the pandemic and seeing most global bodies unable to respond in time to the vagaries of Covid-19, Kiasa became convinced that it was time for art to address politics more seriously. This conviction gave life to “L’Inconsistance”, a choreographic duet in progress where he dances on stage with Nasim.
Raised in Montreal, Quebec, Lyrykz is a self-taught street artist who learned organically by training at home and traveling to New York to perform with other dancers in a number of styles and foundations. Teaching at various dance schools in Montreal, Ottawa, Quebec and Ontario, she made it a point to participate in every battle and community event she could, winning titles primarily in HipHop, Dancehall and Allstyles. By this time she had already become an official dancer for nightlife events, opening for artists such as Fabulous, co-choreographer for Thugli’s Sic’Em, choreographer/performer for 4U2C presented by Cirque du Soleil, weddings, Bar Mitzvahs, youth programs, etc. Lyrykz is a choreographer who does everything from opening for major artists to making music videos to coaching artists and models. Jackson 5 Opener Jazz Festival Montreal, Fabolous, Konshens, Demarco, RYMZ,Tamia Hill, Matrix L’Oreal Fusion Hairshow, Pajar CanCanada, Popcaan,Raptors Fix Yuh…
A graduate of the École de danse contemporaine de Montréal, José Flores co-founded the collective CORPUS in 2017, which notably signed the short film RESURGO. After his studies, he joined the cast of Saturday Night Fever, presented in Quebec City and Montreal. He is also part of the Mamma Mia production presented by Just for Laughs. In addition to his collaboration with Bouge de là, José works with Destins croisés, under the direction of choreographer Ismaël Mouaraki, the Compagnie Virginie Brunelle and with choreographer Harold Rhéaume (Le fils d’Adrien danse). Passionate about dance movement, José is guided by the idea that the possibilities are infinite when we trust our body’s intelligence. He wishes to continue to explore dance in all its complexity, whether as a performer, choreographer or teacher.
Janelle Hacault is a professional Filipino/French-Canadian contemporary dance artist, choreographer, teacher, actor and coach based in Montreal, QC. She is a graduate of the School of Contemporary Dancers Senior Professional Program in Winnipeg, an actress by training, and holds an Honours B.A. from the University of Winnipeg. She was co-founder of Nova Dance Collective, 6 Ricochet and co-creator of thedancepost.org. She has had the privilege of working with Nafro Dance Productions, Ming Hon, Compagnie Entitey/Jason Martin, Trip The Light Fantastic (Kyra Jean Green), Charles-Alexis Desgagnés, Morgane LeTiec, Andrea Peña, Sylvain Émard Danse, Les 7 Doigts de la Main, Wynn Holmes, Ani Taj, and Sam Pinkleton have all been nominated for Tony Awards. In 2021, she participated in the 3rd season of Revolution, created her new work at the Festival Quartiers Danses entitled Ce Moment Où… broadcast on MaTV and co-created an original musical with collaborator/musician Jeremy Walmsley entitled, Ships. In 2022, Janelle worked with Sylvain Émard Danse (SED) and 19 other dancers on the show Rhapsodie, presented by Danse Danse, performed Les Préludes (SED) in Trois-Rivières, and toured Annie : la comédie musicale (directed by Serge Denoncourt and choreographed by Wynn Holmes) in Montreal and Quebec City for Just for Laughs. In addition to performing, Janelle has a coaching practice and an online embodiment session that blends dance and meditation.
Born in Mexico City, Diana trained in dance at Estudio de Ballet Tecamachalco, the National Ballet School of Cuba and the Royal Conservatory of The Hague. She was a member of the National Dance Company of Mexico before joining Les Grands Ballets Canadiens de Montréal, where she danced between 2014 and 2019, performing repertoire by Jiří Kylián, Ohad Naharin, Jean Christophe Maillot, Stephan Thoss, Edward Clug, Didy Veldman and Uwe Scholz, among others, and touring in Colombia, France, Spain, Israel and Canada. In 2015, Diana founded the dance company Vías, which she currently co-directs with Paco Ziel, and has presented her work in renowned Mexican venues such as Teatro de la Ciudad Esperanza Iris, the National Center for the Arts and the Benito Juárez Theater; and in Canada at Montreal Arts Interculturels and Domaine Forget de Charlevoix. Since 2016, Diana has been studying vocal techniques with singer Mamselle Ruiz. She was a member of the multidisciplinary laboratory Quantum Collective and has worked as a freelance performer with Montreal choreographers such as Sylvain Émard, Anne Plamondon and Andrew Skeels.
It was after completing a degree in Special Education that Emmanuelle considered dance as a career. With a French-Reunionese mixed heritage and Indian roots, she grew up immersed in island culture where dance and music are an integral part of everyday life. Street dances such as hip-hop, Latin dances, and island dances influenced her self-taught encounter with dance. Emmanuelle holds a Bachelor’s degree in dance and received academic training in ballet and contemporary dance in France, the United States, and Canada, which allowed her to benefit from a varied and comprehensive approach to this art form.
As a choreographer, in addition to responding to choreographic commissions, she decided to invest in her own creations in 2019 after presenting the duet Angel with her younger sister with multiple disabilities, who is her source of inspiration for life, in France. She even named her company Nouena Danse in her honor. Emmanuelle has since presented her solo Encounter at the Zemmourballet and Quartiers Danses Festivals. Additionally, she presented Chimion at the Quartiers Danses and Vue Sur La Relève Festivals and received several awards. She draws her inspiration from a mix of styles, likes to deconstruct movement to deliver raw and visceral material in search of authenticity. Her new inclusive creation, Anges Lumières, in collaboration with a center for multiple disabilities in France, is progressing well.
Originally from Reunion Island, Thibault first started with hip-hop dance. Wanting to expand his knowledge in dance, he then decided to train at the Montreal School of Contemporary Dance where he graduated in 2018. Thereafter, he continues to refine his dance through various worshops. Being a member of Or pur he had the chance to work with people such as Monstapop or Cindy mc aullife. Thibault’s goal is to develop his personal dance around Hip-hop dance and the different knowledge he acquired during his training in contemporary dance.
A Hip Hop dancer at heart, he has developed his skills by learning a variety of dance styles that also includes many other genres of physical expression, such as Waving and more. Trained in many styles and performing artist, he gives a distinguished understanding of this knowledge of movement, to create a unique and effortless flow.
The Quebec Message for International Dance Day is produced by RQD with the financial support of the governments of Quebec and Canada.
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