by MARITES CARINO

“It was a good year in dance,” says Lorraine Hébert, director of Le Regroupement québécois de la danse, an organization that includes more than 400 members of the Quebec dance community. “We’ve gained what we’ve lost—a new festival.”

By that, she means the 20-year-old Festival de Théâtre des Amériques, which, it has been announced, is morphing into the Festival TransAmériques. Now a contemporary dance and theatre event, it’s scheduled for its debut at the end of next May. Another significant victory in Hébert’s eyes is the eventual reopening of l’Espace chorégraphique Jean-Pierre Perreault as a “collective dance space.” The centre, which was forced to shut down in 2004 due to financial woes, will thankfully remain in the dance community.

Check it outside

As for events that have already happened, one that left a big impression for both Hébert and I was Paul-André Fortier’s Solo 30X30, set in a vacant lot near the corner of Ste-Catherine and Clark, which, coincidentally, marks the future home for Les Ateliers de danse moderne de Montréal.

For 30 days, Fortier confronted the elements in this site-specific solo and chronicled the experience in a blog. During one of his performances, I witnessed an older gent gruffly hurl “C’est quoi ça?!” to no one in particular. While he may have stomped off, not to look back, an estimated 2,700 passers-by decided to stop to witness Fortier diligently sticking to his daily 12:15 p.m. dance rendez-vous with the public.

With rising costs of venue rentals and the desire to get dance off the stage and into non-traditional spots to attract a broader audience, it’s becoming more commonplace to stumble upon dance around town. Companies like La 2e Porte à Gauche have a mandate to bring dance to everyday people, whether it be at the Bibliothèque National, or in Carré Saint-Louis, with their successful open-sky gathering The Art (prononcez dehors). Or take Sasha Kleinplatz and Andrew Tay’s summer group choreographic plunge Piss in the Pool at the Bain St-Michel—on the road to becoming an annual happening.

Select stage highlights

Last May, the Akram Khan Company sent shivers up my spine with Khan’s multi-layered work Ma, at the Centre Pierre-Péladeau. The chilling opening vocals of Faheem Mazhar set the scene for this cohesive septet. It had been a long time since Khan performed in Montreal with his intriguing blend of Kathak and modern dance, and since, he’s become one of Britain’s most in-demand contemporary choreographers. Let’s hope it doesn’t take another three years for him to return.

In June, O Vertigo’s Ginette Laurin gave carte blanche to Chanti Wadge to work with the company dancers. The multi-talented artist shared her creative process, the imaginative, choreographic doodles she developed during a 10-day residency at the O Vertigo headquarters for Lab n° 7. It was an impressive showing after a measly 10 days of work, and I’m eager to see how Wadge brings these snippets to another level.

One special night last fall, dancer turned-choreographer Jolene Bailie metamorphosed into a mysterious bug/lizard creature in a standout performance that captivated all at Studio 303. Dressed in a costume that had echoes of an exoskeleton, Bailie took the life cycle of an insect as a starting point for this succinct choreography. Switchback showcased her strength, flexibility and presence, which were all heightened by an intense driving soundtrack. Born and raised in Winnipeg, she has developed a must-see rep on the Fringe circuit. Keep an eye out for this one.