Why is there so little dance title in French?

Since September, the dance spectator has been able to see Traced + Thinfrom 7Starrr and Taminator. Aemulus by Jean-François Boisvenue. THE Shitshow by Dominique Sophie. So many examples of languages ​​at play in the titles of choreographies in Quebec. For 2023-2024, we see titles in Greek, Spanish and Anishinaabe. And far fewer titles in French than in other disciplines. Does the art of movement have difficulty with French? First of two texts.

The duty has listed the titles of shows with dance, from August to December 2023, at Tangente, La Chapelle, Agora de la Danse, the Grands Ballets canadiennes de Montréal (GBC), Danse Danse, La Rotonde and Montréal, arts intercultural (MAI). Out of 44 shows, 20 are titled in French, or 45%.

34% of titles are in English, 2% in other languages. Two titles are bilingual, such Stations by Louise Lecavalier. A title was counted as frenglish (JOAT International Festivalstreet dance). Inventions, acronyms and other creative titles, such as Labdiff in Tangente, are listed in Other uses (see graph).

The duty also counted the titles until June 2024, excluding Agora and Tangente which did not reveal this part of the season. The proportions are similar, if not to the GBC, where Cantata And Carmina Buranaanchored in the imagination, lower the French average.

“I hadn’t noticed that we don’t have any French titles this season,” says Sophie Corriveau, artistic and general director of Danse-Cité. This broadcaster-producer, who supports artists by giving them carte blanche, “yet has a more French-speaking history”.

Danse-Cité will continue its season with Guāngyǐng guāngyīn by Nien Tzu Weng, Cosmos — I’m not queen, I’m princess! by Kim Ninkuru, and Monad by Alexandra Spicey Landé, among others.

The language of the spectators, that of the dancers

“We hadn’t thought about the language of the titles before the question of Duty », admits Olivier Bertrand, director of La Chapellescenes contemporains. “Over our last seven or eight seasons, in dance and performance, in 70 to 75% of cases, the titles are associated with the linguistic origin of the creators. »

English titles come from English-speaking artists. Francophones write titles in French, summarizes Mr. Bertrand. “There are exceptions: Emile Pineault has always titled the title in English until now. Clara Furey is bilingual, her titles are always English. »

Conversely, David Albert-Toth, continues the director, “is Anglo, his last title is in French; but it is rarer. Allophones tend to title in English, or in their mother tongue.”

The very recent study commissioned by the Regroupement québécois de la danse (RQD), State of play of the dance sector in Quebec, revealed that 71% of responding members had French as their mother tongue. Does this mean that members of the RQD are less shown in theaters? That there are few active choreographers currently?

The Agora de la danse clarified Duty that the vast majority of titles from its last seasons are in French: it is said to produce fewer English-speaking artists. The MAI, whose mandate is to disseminate artists of diversity, on the contrary releases many titles in English and other languages.

Pierre Des Marais, director of Danse Danse, which welcomes foreign companies every year, does not see a proliferation of English, but a multiplication of choreographers “established in Quebec and who come from different backgrounds”. What do we think of the fact that some, after decades of dancing and creating in Quebec, still write exclusively in English?

At La Rotonde de Québec, it is the appearances of Montrealers Frédérick Gravel and Clara Furey who increase the percentage of English titles. Without them, we would only count Graveyards and Gardensa show from Vancouver.

In Quebec, as Laurence Bégin points out, in communications at La Rotonde, the three most important choreographers, Harold Rhéaume, Alan Lake and Karine Ledoyen, work overwhelmingly in French.

Danse-Cité and La Chapelle do not have any figures on the languages ​​spoken by spectators. Directors say the room varies depending on the artists presented. Audiences follow artists.

Inclusions that exclude, and vice versa

Are there English or French aesthetics? Choreographer Fred Gravel reflects: “Pragmatically, there is French-speaking training [UQAM] and an English speaker [Concordia]who forge methods, schools, gangs, literally. »

“We pay great attention to inclusion and the diversity of practices,” says Corriveau of Danse-Cité. She says she is concerned about mending the divide between English-speaking and French-speaking dancers, two communities that remain very separate in Montreal.

How to include, while preserving French? “If we speak of Creole or an indigenous language, and as soon as we leave the two official languages, for me it is inclusive,” explains Olivier Bertrand. “But the question of French, which is mistreated in Canada, remains. The tension, analysis and actions must be different when we think about the relationship between English and French. »

“In cinema, publishing, theater, broadcasters or publishers are responsible for translating the original titles,” continues the director. Is it because in these arts, the audiences are linguistically separated? Why in these cases is inclusion thought of in relation to the spectator, or through translation?

“I wonder if we shouldn’t be more active in dancing and performance. When we are offered an English title, we could at least discuss it; without influencing, without interfering, proposing, perhaps adding, say, a French translation…” asks Mr. Bertrand.

Respect the artistic intention

“It seems to me that if it is subsidized by Quebec and Montreal, respect for French should be a concern for artists,” wrote to Duty a performer concerned about the decline of French in dance, who believes the subject taboo enough to be likely to cause him to lose contracts if he dared to use this phrase openly.

Pierre Des Marais: “For many broadcasters, it is imperative to include the titles of the pieces used in the creation – and a French subtitle if necessary – because this is really the intention of the creators, even if they are words completely foreign to our language. »

“I like that we ask this question of languages,” points out Sophie Corriveau. “On a daily basis, we work, we consider so many issues, and there you go! A new question. How to approach it? It’s very interesting. »

While Quebec is examining the possibility of establishing a youth cultural passport only for French-speaking works, we can wonder if dance, which offers a language other than French, will be included in the offer.

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