By Victor Swoboda Agora de la danse gave Montreal a glimpse of dance’s fast-approaching future with Koros, a mixed bill featuring three group works presented in virtual reality: Allegro Barbaro by Hélène Blackburn, The Complex Simplicity of Love by Margie Gillis, and 6.58 Manifesto by Andrea Peña (who is showing at the Venice Biennale in
By Kaija Pepper The title of Jeanette Kotowich’s Kisiskâciwan comes from the Cree word for “swift-flowing river,” kisiskâciwanisîpiy, which became Saskatchewan — the prairie province where she grew up. In this choreographic memoir, Kotowich (now based in Vancouver) looks back to her childhood, evoking the gently rolling land’s geographical contours in a series of still
By Victor Swoboda With COVID masks and vaccination documents at the ready, spectators filed into downtown Montreal theatres for a busy fall dance season. In September at Usine C, Louise Lecavalier presented Stations, first seen last year in Europe. Like her earlier choreographies, So Blue and Battleground, Stations was a kinetic marvel. With extraordinary coordination, Lecavalier executed an infinite variety of quicksilver gestures.