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Having worked part-time in New York as a teacher with the New Dance Group, substituting for Mary Anthony, Jeanne Renaud went to Paris in December of , where her new husband, Jean-Pierre Labrecque, would continue his medical career by studying psychoanalysis with Jacques Lacan. They travelled with Françoise and Jean-Paul Riopelle and their infant daughter, Yseult (a future dancer), and were met in Paris by Thérèse and Louise and their new partners. Thérèse had left Montreal for Paris in , and had recently married Refus global painter and signatory Fernand Leduc, who had come to Paris after her. At one point all three sisters and their partners were on three floors of the same house, a family reunion that resulted in conversation that Jeanne Renaud still recalls with pleasure, fuelled by their varied cultural interests. After all, Leduc was a philosopher of art as well as a painter, Labrecque had turned to psychoanalysis because of his broad literary/cultural interests, and Francis Kloeppel, Louise's future husband, was working on a book on the French poet Gérard de Nerval. As for the general cultural atmosphere of the city, Jeanne Renaud's own words best describe it:
[After the stimulation of New York] in Paris, all seemed distant, even cold. Needless to say, modern
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Suite canadienne, une démonstration
Exhibition and performance at the Musée d&#;art de Joliette February 2 to May 5, Performance February 2 at 16h.
performance photos: Romain Guilbault dancers: Justin de Luna, Hanako Hoshimi-Caines, Kelly Keenan, Adam Kinner, Louise Michel Jackson, Mulu Tesfu
A group of dancers works to re-make a ballet from the s. Coming from different training backgrounds, they must continually re-negotiate their relationship to the historical ballet they are ostensibly performing. In returning to this history, they each elaborate their own nuanced relationship with the work—a relationship of both mastery and shame, cold alienation and strange belonging, regal sovereignty and radical joy. They work together, creating an ensemble that can hold their differences. In the process, they suggest other, radical uses of history, insisting on their own agency as dancers sent by history.
Suite canadienne, une démonstration is a group re-staging of a ballet piece originally created by Ludmilla Chiriaeff, the founder of Les Grands Ballets Canadiens, called Suite canadienne. The social and performative re-make of this piece entails exploding the original and interrogating its political and cultural genesis. Re-visiting the piece wi