Moving center stage: Dance and Modernization in Late Twentieth Century Montreal
DOI:
https://doi.org/10.31500/2309-8813.13.2018.152204Анотація
Writing about the thousands of amateur and semiprofessional dancers who were soon to descend on a local dance competition on April 26, 2016, the homegrown newspaper of the off-island Montreal bedroom community of Terrebonne, Journal La Revue de Terrebonne noted that the Montreal region of some four millions souls was home to as many dance schools — 96 — as Italy.1 That weekend, 10,000 dancers would arrive at an otherwise unremarkable suburb of about 100,000 nestled on the St. Lawrence River’s north shore, thereby confirming once more that Montreal had become one of the world’s hot spots for dance.
Homegrown dancers and choreographers were not just local, of course. At the same time as the Terrebonne dance invasion, Montreal companies were appearing on stages around the world, often to rave reviews. Performance dance has entered the soul of Quebec where, just over a half-century ago, the art form had been all but banned by the moral strictures of clerical traditionalists. The city’s and province’s explosion in all manner of dance — and other arts — tracked remarkable political, social, cultural, and spiritual transformations that swept across Quebec society throughout the mid-twentieth century. The story of dance offers one insightful piece of the larger tale of a sudden embrace of modernity.
Посилання
Pénélope Clermont, “La danse célébrée par 10,000 personnes,” Journal La Revue de Terrebonne (April 26, 2016).
Micheline Milot, “The Priest-Ridden Province? Politics and Religion in Quebec,” in Stéphan Gervais, Christopher Kirkey and Jarret Rudy, editors, Quebec Questions. Quebec Studies for the Twenty-First Century (Toronto: Oxford University Press Canada, 2011), pp. 123–136.
Iro Valaskakis Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” Studies in Dance History, Vol. V, No. 2 (1994), pp. 1–146: 1–10; and, Andrew Oxenham with Michael Crabb, Dance Today in Canada (Toronto: Simon & Pierre Publishing Co, Ltd., 1977), pp. 7–14.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp. 22–23; Karen Stanworth, “Re-Placing Performance: The Inter-Media Practice of François Sullivan,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian Dance: Visions and Stories (Toronto: Dance Collection Danse Press, 2004), pp. 329–338; Robert Enright, “A Woman for All Seasons: An Interview with Françoise Sullivan,” BorderCrossings (Issue 106)(May 2008); and, Dan Taylor, “Refus Global by Paul-Émile Borduas,” (http://www.dantaylor.com/pages/frenchrefusglobal.html [accessed May 5, 2016]).
Iro Valaskakis Tembeck, “Françoise Sullivan,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /Encyclopédie de la Danse Théâtrale au Canada (Toronto: Dance Collection Danse Press, 2000), pp. 563–565.
Allana Lindgren, “François Sullivan: An introduction,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian Dance: Visions and Stories, pp. 10–19.
Linde Howe-Beck, “Jeanne Renaud,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada / Encyclopédie de la Danse Théâtrale au Canada, pp. 482–487.
Geraldine Anthony, Stage Voices: Twelve Canadian Playwrights Talk about Their Lives and Work (Toronto: Doubleday Canada, LTD., 1978), pp. xix-xxi.
Nick Mont, Arrival. The Story of CanLit (Toronto: Anasi, 2017), pp. 123–127; 181–194; and, Cheryl Smith, “Stepping Out: A New Look at Canada’s Early Ballet Companies, 1939 to 1960,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian Dance: Visions and Stories, pp. 197–223: 216–220.
Roger Lemelin,” Canadian Writers Website (http://www.collectionscamada/gc.ca/writers/027005–2000-e.html [accessed May 5, 2016]).
Geraldine Anthony, Stage Voices: Twelve Canadian Playwrights Talk about Their Lives and Work (Toronto: Doubleday Canada, LTD., 1978), pp. xxi-xxiii.
Iro Valaskakis Tembeck, “Maurice Lacasse Morenoff, Carmen Sierra Morenoff,” and Linde Howe-Beck, “Jeanne Renaud,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /Encyclopédie de la Danse Théâtrale au Canada, pp 394–395 and 482–484.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp. 11–17.
Iro Valaskakis Tembeck, “Maurice Lacasse Morenoff, Carmen Sierra Morenoff,” p. 395; and Pierre Lapointe, Three Intrepid Montreal Dancers of the 1940s and 1950s,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian Dance: Visions and Stories, pp, 287–295.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp. 17–19.
Grant Strate, “Canadian Dance in Progress: A Personal View,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian Dance: Visions and Stories, pp. 21–32.
Iro Valaskakis Tembeck, “Gérald Crevier,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /Encyclopédie de la Danse Théâtrale au Canada, pp 394–395.
Linde Howe-Beck, “Ludmilla Chiriaeff,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /Encyclopédie de la Danse Théâtrale au Canada, pp. 118–121.
Cheryl Smith, “Stepping Out: A New Look at Canada’s Early Ballet Companies, 1939 to 1960,” pp. 214–219.
Iro Valaskakis Tembeck, “Politics and Dance in Montreal, 1940s to 1980s: The Imaginary Maginot Line between Anglophone and Francophone Dancers,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian Dance: Visions and Stories, pp. 278–280.
Cheryl Smith, “Stepping Out: A New Look at Canada’s Early Ballet Companies, 1939 to 1960,” pp. 197–223; and Katherine Cornell, “The Ballet Problem: The Kirstein-Buckle Ballet Survey for the Canada Council,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian Dance: Visions and Stories, pp. 225–238.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp. 23–25.
Ibid, pp. 25–28.
Ibid, pp. 28–32.
Cheryl Smith, “Stepping Out: A New Look at Canada’s Early Ballet Companies, 1939 to 1960.”
Katherine Cornell, “The Ballet Problem: The Kirstein-Buckle Ballet Survey for the Canada Council.”
Cheryl Smith, “Stepping Out: A New Look at Canada’s Early Ballet Companies, 1939 to 1960,” p. 221.
Les Grands Ballets Canadiens de Montréal,” The Canadian Encyclopedia [www.thecanadianencyclopedia.ca/[May 20, 2016]).
Les Grands Ballets Canadiens de Montréal,” The Canadian Encyclopedia [www.thecanadianencyclopedia.ca/ [May 20, 2016]).
Michael Gauvreau, Catholic Origins of Quebec’s Quiet Revolution, 1931–1970 (Montreal: McGill-Queen’s Press, 2005); and, Michael D. Behiels, Prelude to Quebec’s Quiet Revolution: Liberalism vs Neo-Nationalism, 1945–60 (Montreal: McGill-Queen’s Press, 1985).
Sylvain Schryburt, “Quebec Theatre: New Dynamics between the Local and International,” in Stéphan Gervais, Christopher Kirkey and Jarret Rudy, editors, Quebec Questions. Quebec Studies for the Twenty-First Century, pp. 443–455; and, Gregory J. Reid, “Performing Anglo Quebec: The Myth of Solitudes and Merging Anglo-Québécois Subject,” Journal of Canadian Studies, vol. 46, no. 3 (2012), pp. 105–127.
Paul-Andre Linteau, The History of Montreal: The Story of a Great North American City [trans. By Peter MacCambridge](Montreal: Baraka Books, 2013), p. 166.
Andrew Oxenham with Michael Crabb, Dance Today in Canada, p. 27–28.
Linde Howe-Beck, “Ludmilla Chiriaeff.”
Linde Howe-Beck, “Les Grands Ballets Canadiens,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /Encyclopédie de la Danse Théâtrale au Canada, pp. 241–245.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp.38–39.
Iro Valaskakis Tembeck, “Politics and Dance in Montreal, 1940s to 1980s: The Imaginary Maginot Line between Anglophone and Francophone Dancers,” p. 279.
Jo Leslie, “Le Groupe de la Place Royale,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /Encyclopédie de la Danse Théâtrale au Canada, pp. 250–253.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp.47–48.
Lai-Ling Lee, “Peter Boneham, » in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada / Encyclopédie de la Danse Théâtrale au Canada, pp. 89–91.
Jo Leslie “Le Groupe de la Place Royale.”
“Le Groupe de la Place Royale,” The Canadian Encyclopedia [www.thecanadianencyclopedia.ca/ [May 20,2016]).
“Le Groupe Dance Lab,” The Canadian Encyclopedia [www.thecanadianencyclopedia.ca/ [June 11, 2016]). 44. Ibid.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp.58–61.
Iro Valaskakis Tembeck, “Politics and Dance in Montreal, 1940s to 1980s: The Imaginary Maginot Line between Anglophone and Francophone Dancers,” pp.280–282.
“Le Groupe Nouvelle Aire,” The Canadian Encyclopedia [www.thecanadianencyclopedia.ca/ [June 14, 2016]); and Martine Époque, Les coulisses de la nouvelle danse au Québec, Le Groupe Nouvelle Aire en mémoires, 1968–1982 (Sanite-Foy : Presses de l’Université du Québec, 1999); and Andrew Oxenham with Michael Crabb, Dance Today in Canada, pp. 30–35.
Iro Valaskakis Tembeck, “Martine Époque,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /Encyclopédie de la Danse Théâtrale au Canada, pp. 178–180.
Aline Gélinas, “Paul-André Fortier, in Ibid, pp. 198–200.
Kathryn Greenaway, “Ginette Laurin,” in Ibid, pp. 330–332.
Linde Howe-Beck, “Eva von Gencsy,” in Ibid, pp. 611–613.
Ibid.
Ibid.
Lys Stevens, “Eva von Gencsy (1924–2013),” The Dance Current (December 4, 2013).
Iro Valaskakis Tembeck, “Politics and Dance in Montreal, 1940s to 1980s: The Imaginary Maginot Line between Anglophone and Francophone Dancers,” p. 284.
Kathryn Greenaway, “Éduard Lock” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada / Encyclopédie de la Danse Théâtrale au Canada, pp. 357–359.
Victor Swoboda, “La La La Human Steps is no more, Édouard Lock announces,” Montreal Gazette (September 2, 2015).
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” pp. 86–92.
Linde Howe-Beck, “École de danse contemporaine de Montréal, The Canadian Encyclopedia [www.thecanadianencyclopedia.ca/ [June 27, 2016]).
Kathryn Greenaway, “Linda Rabin,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada /
Encyclopédie de la Danse Théâtrale au Canada, pp. 469–471.
Samantha Mehra, “Candace Loubert (1947–2011),” The Dance Current. Canada’s Dance Magazine (November 23, 2011).
Linde Howe-Beck, “Daniel Soulièrs,” in Susan Macpherson, editor, Encyclopedia of Theatre Dance in Canada / Encyclopédie de la Danse Théâtrale au Canada, pp. 543–545.
Aline Gélinas, “Paul-André Fortier,” in Ibid, pp. 198–200.
Iro Tembeck, “Dancing in Montreal. Seeds of a Choreographic History,” p. 86.
Christopher Jones, “Popular Music in Quebec,” in Stéphan Gervais, Christopher Kirkey and Jarret Rudy, editors, Quebec Questions. Quebec Studies for the Twenty-First Century, pp. 212–226; Sylvain Schryburt, “Quebec Theatre: New Dynamics between the Local and the International,” in Ibid, pp. 443–454
Thomas A. Cummins-Russell and Norma M. Rantisi, “Networks and Place in Montreal’s Independent Music Industry,” The Canadian Geographer, vol. 56, no. 1 (2012), pp. 80–97.
François Sullivan, “Dance and Hope,” in Selma Landen Odom and Mary Jane Warner, editors, Canadian
Dance: Visions and Stories, n pp. 11–18: 16.
##submission.downloads##
Опубліковано
Як цитувати
Номер
Розділ
Ліцензія
Авторське право (c) 2020 Blair A. Ruble
Ця робота ліцензується відповідно до Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Автори, які публікуються у цьому журналі, погоджуються з наступними умовами:
1. Автори залишають за собою право на авторство своєї роботи та передають журналу право першої публікації цієї роботи на умовах ліцензії Creative Commons Attribution License, котра дозволяє іншим особам вільно розповсюджувати опубліковану роботу з обов'язковим посиланням на авторів оригінальної роботи та першу публікацію роботи у цьому журналі.
2. Автори мають право укладати самостійні додаткові угоди щодо неексклюзивного розповсюдження роботи у тому вигляді, в якому вона була опублікована цим журналом (наприклад, розміщувати роботу в електронному сховищі установи або публікувати у складі монографії), за умови збереження посилання на першу публікацію роботи у цьому журналі.
3. Політика журналу дозволяє і заохочує розміщення авторами в мережі Інтернет (наприклад, у сховищах установ або на особистих веб-сайтах) рукопису роботи, як до подання цього рукопису до редакції, так і під час його редакційного опрацювання, оскільки це сприяє виникненню продуктивної наукової дискусії та позитивно позначається на оперативності та динаміці цитування опублікованої роти (див. The Effect of Open Access.
- Автори залишають за собою право на авторство своєї роботи та передають журналу право першої публікації цієї роботи на умовах ліцензії Creative Commons Attribution License, котра дозволяє іншим особам вільно розповсюджувати опубліковану роботу з обов'язковим посиланням на авторів оригінальної роботи та першу публікацію роботи у цьому журналі.
- Автори мають право укладати самостійні додаткові угоди щодо неексклюзивного розповсюдження роботи у тому вигляді, в якому вона була опублікована цим журналом (наприклад, розміщувати роботу в електронному сховищі установи або публікувати у складі монографії), за умови збереження посилання на першу публікацію роботи у цьому журналі.
- Політика журналу дозволяє і заохочує розміщення авторами в мережі Інтернет (наприклад, у сховищах установ або на особистих веб-сайтах) рукопису роботи, як до подання цього рукопису до редакції, так і під час його редакційного опрацювання, оскільки це сприяє виникненню продуктивної наукової дискусії та позитивно позначається на оперативності та динаміці цитування опублікованої роботи (див. The Effect of Open Access.
