Over the years, Cinedanse has organized several workshops for the public and professionals, notably with the Catalan filmmaker Isabel Rocamora, recognized as one of the leading figures of dance on screen in the world, with Mor Shani, the young choreographer of the moment in Israel, as well as with the inspiring choreographers Thierry Thieû Niang from Paris and Tamar Rogoff from New York. These creators have transformed through dance hundreds of artists from Québec and Canada and many more art lovers, from Montréal to Ottawa, from Québec City to Saint-Jean-Port-Joli, from Paspébiac to Rouyn-Noranda.
These workshops were made possible thanks to the generous support of all our partners.
“I’m not artistic by nature at all but I loved it so much. A must-see movie! Accessible to all. Tamar Rogoff is very generous with her time. She completely changed my perspective on dance and opened my mind to innovative ways of dealing with motor, coordination and other neurological disorders. Thank you Tamar Rogoff.”
Testimonial from the mother of young Nathan with cerebral palsy, both came to meet Tamar at the “Maison pour la danse” in Québec City in May 2018.
“ENTER THE FAUN”
Workshops on cerebral palsy by Tamar Rogoff (New York)
May 18, 2018 | Maison pour la danse, Québec City
May 22, 2018 | Espace Danse, Studio C of Les Grands Ballets Canadiens, Montréal
September 19, 2019 | ODD Centre for Contemporary Dance, Ottawa
“In the process, she has changed his view of himself and of his possibilities.” New York Times
The story behind “Enter the faun”
Tamar Rogoff wanted to create a new version of Vaslav Nijinsky’s landmark piece, “L’Après-midi d’un faune”, created by Diaghilev’s famous Russian Ballet (1912). She chose to work with the young actor Gregg Mozgala, who had cerebral palsy, to interpret the faun. Rogoff adapted her creative and teaching techniques to Mozgala’s physical condition, and he agreed to submit his body and mind to her choreographer’s designs. Thus, together they reinvented their practice and their own existence.
Dir : Tamar Rogoff, Daisy Wright | USA | 2015 | 68′
New York-based choreographer Tamar Rogoff visited Québec City and Montréal in May 2018 to offer a series of workshops for dance professionals and people with motor disorders.
Tamar Rogoff laid out a program of exercises through which participants experienced a new approach to managing their motor skills. Like Mr. Mozgala who learned to break motor habits caused by cerebral palsy, participants were led to discover parts of their bodies over which they previously had little control and which can be sources of motor rehabilitation.
A screening of the documentary “Enter the Faun” preceded each workshop and was followed by a period of discussion between the participants and Tamar Rogoff and Sylvain Bleau.
Upon discovering the fascinating story of this artist duo, Cinédanse’s director, Sylvain Bleau, sought every opportunity to invite them to the country, not only to share their story, but more importantly, to serve as an inspiration to the artists and other people with the disease, their families and caregivers.
“DANCING SPRING IN SUMMER”
Workshops and projections with Thierry Thieû Niang (Paris)
May 3, 2017 | Place des Arts, Montréal
August 12 to 14 | Studio de Fleuve Espace Danse, Saint-Jean-Port-Joli
August 16 to 18 | Salle Multi du Centre culturel, Paspébiac
August 21 to 23 | Studio ODD at Arts Court, Ottawa
August 24 to 26, Studio F at Place des Arts, Montréal
September 1st to 3rd, Rouyn-Noranda Exhibition Center
“Meeting with a choreographer who makes dance have a different tone”
“I feel like a young girl! ” Edwidge Le Blanc, 75 years old, in Paspébiac
On August 12, 2017, French choreographer Thierry Thieû Niang resumed his tour of Québec and Ottawa to bring “Dancing Spring in Summer! ” to our seniors and youth.
After his remarkable performance at Place des Arts in Montréal in May 2017, Thierry Thieû Niang was back in shape, and took to the road again in Québec (Saint-Jean-Port-Joli, Paspébiac, Rouyn-Noranda) passing by Ottawa, from August 12 until September 3, 2017, to the great pleasure of the hundred of participants and Cinédanse partners.
A unique opportunity was offered for youth and elders to work with a recognized artist to give another tone to dance.
In each community visited, the powerful documentary film “Dancing Spring in Autumn” featuring the choreographer and a group of seniors from Marseille was screened. This film, charged with humanity, was the inspiration for Cinédanse’s producer, Sylvain Bleau, to imagine this tour which brings together young people and seniors and questions our relationship to old age, to the ties that need to be rebuilt between these two generations, which are often too far apart in our modern societies. At the end of each projection, there were citizen exchanges between the choreographer and the public. And guests with notably in Montréal were present: the Innu poetess Josephine Bacon, the pioneer of dance in Québec Martine Époque, the historian Hélène-Andrée Vizier, Dr. Valérie Lemieux from the Montréal Public Health Department and the animator Sébastien Diaz.
Dir : Philippe Chevallier, Denis Sneguirev | 2013 | 52’
Workshops and screening with Mor Shani (Israel) and Paul Sixta (Netherlands)
September 19 and 20, 2015 | Roland-Arpin Auditorium of the Museum, Québec City
Jane Austen said: “There are as many forms of love as there are moments in time”. But what differentiates one love from another?
Israeli choreographer Mor Shani was inspired by Erich Fromm’s book “Art of Loving” (1956) to create Love-ism, a work that seeks to understand the different forms of love that unite human beings.
He continues the creative process in the form of workshops with non-dancers. Shani, who wants to take dance out of the studios and make it accessible to everyone.
Two free workshops for the public were offered by Cinédanse Québec 2015.
15 people attended Mor Shani’s workshops in Québec City. Luminous footage filmed by Sixta with the workshop participants were integrated into the film presented to the Québec City audience.
Dir : Paul Sixta | Chor : Mor Shani | 2013
“THE BODY IN MOVEMENT AND THE CAMERA”
Workshop by Isabel Rocamora (Barcelona)
October 9 and 10, 2014 | La Rotonde, Québec City
October 11 and 12, 2014 | Studio 303, Montréal
“A true masterpiece” Artforum International Magazine, New York (March 2009) about Horizon of Exile
This workshop was organized by Cinédanse Québec 2014, in collaboration with L’Artère, la Rotonde, the Regroupement québécois de la danse and Studio 303.
Based between Edinburgh and Barcelona, filmmaker and choreographer Isabel Rocamora is now recognized as one of the most inspiring dance filmmakers in the world. Her films deal with delicate and topical subjects with honesty and remarkable acuity.
Presentation of the workshop
The relationship between the moving body, time, space and the camera is rich and complex. During the two-day intensive workshop, Isabel Rocamora proposed to the participating artists (performers, choreographers or filmmakers) a series of practical exercises on the dialogue between the moving body and the camera.
The workshop was structured around exercises on the following topics :
- observation techniques;
- the sequence shot versus editing (in relation to time and space);
- how to capture the three-dimensionality of action in motion;
- the dialogue between the moving body and the moving camera;
- the basic rules of shooting necessary for editing (the language of cinema);
- how to stay faithful to the qualities of movement when shooting (keeping rhythm and change in perspective);
- the integration of theme with choreography and the cinematic gaze (collaborative methods).
Throughout the workshop, the performers and filmmakers worked in groups and were asked to contribute to the exercises through their own disciplinary perception, in order to enrich the work of their colleagues. The particularity of this workshop is that it allowed each of them to capture the specific nature of the other’s creativity by switching roles.
Thus, performers and choreographers were invited to choreograph film sequences, while directors were given the opportunity to dance to deepen their understanding of the body in movement. This collaborative process was at the heart of the learning process.
In her film “Horizon of Exile” (2007), Isabel Rocamora takes us through the difficult desert crossing of two women whose inner movement invades us, confuses us. In “Promise of a Fallen Time” (2009), she captures the end of a couple’s life, a film produced long before Michael Haneke’s “Amour”. “Body of War” (2011) takes a tender look at the soldiers of our contemporary wars. These three films were presented at the 2015 Cinédanse Festival in Québec City.