As we reflect on this experience, we are struck by the magnitude of its importance.
To have been present in
the studio
To have watched Ginelle’s
passion and clarity and have had the opportunity to listen to her journey
To watch as Sophie
embodied the work
 |
| Odette Heyn and Faye Thompson / Winnipeg |
To see how these young
dancers have been personally challenged and how they continue to grow and
support each other makes this process both multifaceted and beautiful
The merging
of.....past.....present.....future..... a gift we will all carry with us
The adventure continues!
/ Odette Heyn
Faye Thomson
Co-Directors
The School of Contemporary
Dancers
Regarding the process of
Jean-Pierre Perrault’s work.
I
found the work challenging. Though it was easy to lose oneself within the
repetition of the steps, for me the challenge was not necessarily solely in the
steps. It was a real personal challenge. As an emerging artist, as a dancer
that is about to graduate from student to professional, I am coming face to
face with the struggle that has plagued me for 6 years, in the process of
learning bits of “Joe and Rodolphe”. It occurred to me recently that in the beginning I was
approaching it in the way I always have approached dance, with the sincere need
to do everything the “right” way. I want to please, to do exactly what I am
told and I am harsh with myself when I don’t or can’t deliver.
 |
| Alexandra Garrido / Winnipeg |
I
realize now that the work has been about finding acceptance of my personal
identity. But how does one find individuality within a sea of overcoats that
all have the appearance of the same character? As well, within such a
specificity of movement that is unfamiliar to my body? Through the “Joe and
Rodolphe” process, the theme that appeared and that was spoken about often by several
mentors whom have danced the work before was the authenticity of the
movement. Authenticity comes from
within the self. My goal in learning Jean Pierre’s work should not be to merely
be an authentic “Joe and Rodolphe”, but to be myself, which would then
translate into the authentic “Joe”. My approach now becomes about asking myself
”What does the movement mean to me?” instead of “How can I do it exact and
perfectly?” Of course there is the
element of being accurate in shape and approach to the movement, but certainly
I am more and more aware especially with this challenge of such an immense
work, that most importantly, I
must embrace the person that I am first, instead of trying to hide or be
something else.”
/ Alexandra
Garrido, Winnipeg
 |
| CarolAnn Bohrn / Winnipeg |
Working on the “Joe and
Rodolphe” material was a unique experience for
many reasons, not the least of which was dressing up in full business
attire everyday. I perspired a lot, my feet ached from the boots, and
my body was heavy with the extra weight of the shirt, pants, jacket,
overcoat and hat. But the choreography was designed for that
experience, and it was apparent how refined the work was. To me it
seemed every step had a reason to be danced, and working in the
costume daily was necessary to transport the dancers into that world. Despite the age of the piece, it was quite a creative process; as you danced you felt as
though you were contributing to the work with your own choices.
Ginelle and Sophie of course were a key aspect in setting the
environment for the dancers and I could not have imagined more perfect
coaches. I feel honored to carry on the “Joe”, Jean-Pierre Perreault’s
legacy this upcoming June at the National Arts Centre.
/ Carol-Ann Bohrn, Winnipeg
many reasons, not the least of which was dressing up in full business
attire everyday. I perspired a lot, my feet ached from the boots, and
my body was heavy with the extra weight of the shirt, pants, jacket,
overcoat and hat. But the choreography was designed for that
experience, and it was apparent how refined the work was. To me it
seemed every step had a reason to be danced, and working in the
costume daily was necessary to transport the dancers into that world. Despite the age of the piece, it was quite a creative process; as you danced you felt as
though you were contributing to the work with your own choices.
Ginelle and Sophie of course were a key aspect in setting the
environment for the dancers and I could not have imagined more perfect
coaches. I feel honored to carry on the “Joe”, Jean-Pierre Perreault’s
legacy this upcoming June at the National Arts Centre.
/ Carol-Ann Bohrn, Winnipeg
Joe
Our bodies ache for the space around us,
dark and mesmerizing as open water,
soundless, but for the flap of coats and tap of boots,
 |
| Hannah Everest / Winnipeg |
wind beating waves,
a curious comforting rhythm.
Once, the lonely song of a gull echoes all around,
and surprised as one, our focus tightens
before opening, gladly to the sky.
We are not of this world.
Strange, blanketed creatures,
we move with a weighted rhythm too stern for lush
vitality.
Our desires, so electric inside,
hum barely visible in the expanse around us,
and our fears, those giants, are swept up and lost
in the wild raw strength of this tidal current,
before we pause, look down, and remember everything.
In this place we dream forever,
move in and out of time,
sighing and rustling, falling and leaping,
in solitude, then happenstance in chorus,
dances of patience and joy, of work, and endless longing.
Meanwhile the waters move, the sun beams,
and the gentle earth rises up
in witness to a collective wonder.
/ Hannah Everest, Winnipeg
 |
| Jill Groening / Winnipeg |
dear Joe
do you see that
up there
that bird?
just what does he think
he has to sing about?
no one can hear him
over the rain that
slaps the pavement.
the other birds huddle
a black mass
of trembling feathers
below
capped heads bob
faces dropped
towards wet ground.
padam padam
regretting
relenting
releasing
padam padam
awaiting
a delicious glimpse
of white collar points.
a throat.
an open coat catches and snaps in the wind.
/ Jill Groening, Winnipeg
 |
| Rachelle Bourget / Winnipeg |
To have been a part of this process is
deeply rewarding.
/ Rachelle Bourget, Winnipeg
 |
| Sam Penner / Winnipeg |
In the three weeks since Ginelle and Sophie
left us with Jean-Pierre Perreault's Joe, I feel I'm finally starting to
understand the full vision of the work. It was when we rehearsed without our
heavy layers of costumes that I understood all I'd been told about Perreault,
how all the elements of a work (including lighting, sets, music, costumes,
choreography, etc.) were equally important to him. Without the suit and tie,
overcoat and hat, heavy boots and suspenders, the experience and expression of
the choreography is completely different. I had never realized just how much
the costume could inform the movement and the feeling of that character. And I
think my understanding will only grow more as we come together in Ottawa, to
experience all of the elements of his vision at once: the lights, the silences,
the vastness of the NAC space, the sheer volume of bodies, the Joe uniform, and
the dance. My only regret is that we only have one performance!
Sam Penner, Winnipeg
 |
| Amy Webb / Winnipeg |
After
completing the two weeks intensive working with Ginelle and Sophie on excerpts
of “Joe and Rodolphe” I have been left in a strange place. After two weeks of
wearing sweaty suits, overcoats and heavy shoes I welcomed the news that we would
not be wearing the costume for the first rehearsal after the intensive. Yet as
I took my first step in our first run out of costume all of it felt wrong. The
weight on my shoulders was gone, the person I was, was no longer there. I
realized that as much as I complained about the heat and the weight of that
overcoat, it was necessary. Every movement or decision that Jean-Pierre
Perreault created was intentional; each part informed another. Many times we
were only told the objective, which led to the outcome naturally, instead of
being told what the outcome should be. As we work on our fifteen minute version
I can't help but feel somewhat antsy about how the long version will feel now
that I realize everything has a purpose in Perreault's work. I can't wait to
get to Ottawa and absorb a larger and fuller piece; with a larger number of
people as well as the longer time span I feel I can really get into the work to
help my further exploration of Jean Pierre Perreault!
Amy Webb,
Winnipeg
 |
| Sarah Helmer / Winnipeg |
Being a part of the “Joe et Rodolphe” process
has been an amazing, unforgettable experience. I find that, in relation to the
imminence of our graduation from school, this piece is poignantly relevant.
Dancing in “Joe et Rodolphe” gives
one the sense of being isolated, yet with a keen awareness of the surrounding
group. The struggle to embody the work and stay within the confines of the
costume and the choreography is personal and individual, but also shared by
all. In the same way, we as graduating students and emerging dance artists will
struggle individually with our transitions, but we will be supporting and being
supported by our peers throughout our journeys. More broadly, dancing in “Joe
et Rodolphe” has given me a more personal understanding of dance legacy and of
course the legacy of Jean-Pierre Perreault. Dancing in the piece evokes an
awareness of those who have experienced this work before us, with whom we now
share knowledge of the “Joe” movement and character. I very much look forward
to what I expect to be an amplification and intensification of everything we
have been a part of so far when we join the other schools in Ottawa!
/ Sarah Helmer, Winnipeg
 |
| Tess Rutherford / Winnipeg |
In Joe I had to learn to begin to separate
myself from my individual identity as a dancer and focus on the group as a
whole. Even now I find that I have carried the feeling of dancing “Joe et
Rodolphe” with me through day-to-day life. It is interesting to see how the
piece it so much related to everyday people and interactions we have.
/ Tess Rutherford, Winnipeg
Jean-Pierre
Perreault is alive through his work, and he still speaks. A feeling comes over me when I dance in "Joe and Rodolphe". I do not look for it. I do not bring this feeling to the dance or try to achieve a particular character. It just comes. This feeling surrounds me, encompasses me. The dance consumes me until we, the dancers, are all just arbitrary parts in a finely tuned machine. This is a masterpiece at work.
Thank you Jean-Pierre Perreault.
And thank you ... for the passion in carrying out Jean-Pierre's work, preserving these dances with such care and accuracy.
I can see that Jean-Pierre was a loved man.
Zorya Baskier-Pasternak, Winnipeg
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