by MARITES CARINO

Have you unwittingly been sucked into the weekly So You Think You Can Dance schlock fest? Doesn't ring a bell? Think Canadian Idol, but dance-based, where a motley crew of chatterbox judges diss or give props to breathless, bleach-toothed wannabes who give it their all on the glitzy floor. Just say no to trash TV. Switch it off and head out because Montreal's dance scene is finally getting back into the groove after a long summer drought.

This month at Agora de la danse, literature and movement intermingle in the multidisciplinary Du vent!, part of the Festival International de la Littérature. Author and La Presse dance writer Aline Apostolska directs and partakes in the artistic activity that revolves around the themes of femininity, migration and memory in this eclectic performance with the choreographic touch of Hinda Essadiqi, Sept. 19-20.

To welcome October, celebrate the arts with choreographer Lin Snelling and Studio 303 during Les Journées de la Culture, but don't be startled during the fête if you encounter dancing in the stalls during a bathroom break. Dance and architecture are the focus of this project, so keep your eyes peeled for movement makers scattered throughout the building during Full Time at the Belgo on Oct. 1.

Pickings are slim this season when it comes to performances by international ensembles, but Trois Générations is one of the few shows making a stop in the city. French choreographer Jean-Claude Gallotta attempts to bridge the age gap in this work for 24 performers from as young as seven to dancers in their '60s. Here's the concept: Gallotta divides the dancers into three groups according to their life stages and each cluster performs the identical choreography one after the other, Sept. 29-Oct. 1 at Place des Arts.

Although shows from abroad are lacking, local choreographers presenting Canadian premieres have a strong presence in the fall lineup, like Danièle Desnoyers, who's always been interested in how the disciplines of music and dance interact. In Play It Again! Desnoyers uses a piano in ways that are a little left of centre, Oct. 5-15 at Agora de la Danse. Over at Usine C, two more debuts with one by Sylvain Émard who teeters along the theme of social disequilibrium in Temps de chien, Oct. 13-22. The following week, Louise Bédard continues exploring female artists in Ce qu'il en reste, Oct. 25-30. Another female choreographer, but different venue, the imaginative Guylaine Savoie dances in a dark duet called Un étranger, Oct. 19-29, at Théâtre La Chapelle.

Activist action

A season highlight for me falls mid-November when dance activists step up to speak and move during the International Conference on Dance and Human Rights, Nov. 10-13. The event encompasses workshops, panels and discussions on topics such as "Choreography as a Propaganda," and "Dance and Disability." During the event, march over to Tangente for a politically charged triple bill with choreographic movers and shakers who have something to say (Julie Beaulieu, Jonathan Voyer, Sarah Joy Stoker and Nora Chipaumire). Check out the complete schedule at www.cordance.org.

Speaking of activists, the songs of folkster Joan Baez deeply inspired Belgian choreographer Anne Teresa de Keersmaeker even though she couldn't understand Baez's lyrics when she first encountered the music in her youth. Now artistic director of contemporary dance company Rosas, de Keersmaeker performs a solo called Once, set to Baez's melodies, Nov. 16-19 at Usine C.

To end off the season, forget the usual Nutcracker. After all the hype, the Royal Winnipeg Ballet swoops into town with Mark Godden's version of Dracula for a handful of performances of this tale that's miles beyond the dance of sugar plum faeries, Nov. 24-26, Place des Arts.

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