by MARITES CARINO

In the back-to-school tradition of September, Tangente opens their season with Danses buissonnières (Sept. 14–17), which features a crop of mini choreographies by students from the class of 2006. The weekend after, programmers have added a where-are-they-now’ mélange of works by buissonnières alumni. This season, Tangente’s programming has gone through a major overhaul, taking on a new format that builds on nine concepts. One you’ll see early is Doubles Territoires/Split Stage, where the already small stage and audience space are halved—a more intimate way of looking at dance and the space it occupies.

For culture vultures who get off on freebies, head out to Les Journées de la Culture festivities for dance-related events like open houses, free performances and workshops (Sept. 29-Oct. 1). Studio 303 is partaking in the event with a screening of dance flicks and a Q & A session with the directors on Sept. 30 from noon–4 p.m. The complete schedule is at www.journeesdelaculture.qc.ca.

Love and death

Speaking of 303, the ever-popular Vernissage-danse series gets a facelift this season. Each soirée will now revolve around a specific theme. Verni #131 kicks it off on Oct. 21 with dance spiralling around the theme of death. Throughout the months, watch out for other concepts like “unplugged,” “love/hate duets” and “found.” Dig up details at www.studio303.ca.

October 20 marks day one of 30 for local dancer-choreographer Paul-André Fortier’s new work. Since March, Fortier’s been globetrotting with his outdoor site-specific show Solo 30x30. It’s a half-hour piece performed 30 days in a row, rain or shine. So far he’s taken it to England, France and Japan. Fortier’s final stop brings him home to Montreal, more specifically to the corner of Ste-Catherine and Clark. You’ve got until Nov. 18 to see it, but if you can’t make it out, catch up on

his project chronicles at www.

fortierdanse.blogspot.com.

Butoh Butoh gala

A must-see this fall is Japan’s all-male dance troupe Sankai Juku. It’s been more than 15 years since Montrealers have laid eyes on the butoh company that was founded more than 30 years ago by Ushio Amagatsu. Amagatsu, who’s now in his late 50s, will dance in Kagemi, a meditative, reflective septet set against a backdrop of giant lotuses. It’s on Oct. 12–14 at Place des Arts.

Chinese-born Wen Wei Wang danced professionally in China before deciding to make Vancouver his home base in the ’90s. His company, Wen Wei Dance, will be performing in Montreal for the first time in Unbound, his newest choreography. For this piece, Wang drew inspiration from an exhibit at the Bata shoe museum in Toronto and his mother’s personal stories about Chinese foot binding. He’s being touted as a new choreographic sensation, so check him out Oct. 31–Nov. 4 at Agora de la danse.

Following in the same aesthetic as his last piece, Portable Dances, which focused on plain and simple movement, José Navas brings us Anatomies. This time, Navas focuses on the anatomy of the body while playing with gravity at Agora de la danse (Nov. 8–11).

Belgian company Ballets C. de la B. returns with a follow-up to their last delightful piece bâche. Choreographer Koen Augustijnen renews his collaboration with countertenor Steve Dugardin and they’re joined by six dancer/acrobats and a string quartet.Import/

Export is a world première set to French baroque music and uses a mix of theatre and movement styles. The show runs from Nov. 14–18 at Cinquième Salle.

Top U.K. choreographer Russell Maliphant keeps things hot through December with Push: Transmission One, Part II, where he combines elements of capoeira, tai chi, yoga and contact improvization into dazzling body architecture, Dec. 7–9 at Place des Arts.

Welcome re-runs

Back in 1999, I saw dancer Ken Roy perform for the first time in the beautiful Projet Roy, where he moved solo to choreographies by Louise Bédard, Hélène Blackburn and Danièle Desnoyers. Good news—Danse Cité is remounting the show Sept. 27–30 at Usine C.

And next month, catch Daniel Léveillé’s La Pudeur des icebergs. From 2004, it’s the last part of a trilogy that strips movement down to the raw and bare essentials at Agora de la danse Oct. 11–14.