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Cuña

Bettina Szabo Artistic director - Choreographer

  • ⍢ Update! ⍢

    It's the final countdown!
    5 days left to help us fund our residency in Repentigny. https://fr.ulule.com/bettina-szabo/

    The team is performing in their informal showing, but we'll give you a peek here....

  • ⍢Meet the Team!⍢

    ⍢ Meet the Team!⍢

    After close to a decade as a youth gymnastics medalist in Quebec, Kim Henry soon discovered and fell in love with contemporary dance. Since graduating from l’École de danse contemporaine de Montréal in 2011, she has performed in more than 50 dance and physical theatre projects as a freelance artist. She most notably has danced for Lucie Grégoire, Montréal Danse (George Stamos, Benoît Lachambre), Mélanie Demers, Jacques Poulin-Denis, Isabelle Boulanger, and Audrey Bergeron, among others. In addition to her journey as a live performer, her collaboration with visual artist Eric Paré allowed her to travel to more than a dozen countries, creating unique poetic photography in some of the most magnificent landscapes on earth. Versatile and curious, she seeks collaborations which allow her to go push her limits in rigour and playfulness. She's been part of Cuña since 2017.

  • ⍢ Invitation! ⍢

    We are only 12 days from the end of our campaign and had made 50% of our objective! Thank you so much to everyone who is helping us make it to Repentigny. We want to take this opportunity to invite you to a showing of the process we will be doing on Friday March 29th at noon at the Centre D'art Diane-Dufresne. Hopefully we'll see you there!

  • ⍢ Meet the Team! ⍢

    Photo credit: David Wong

    A lover of big movement, Rosie Contant finished her studies at Ecole de Danse Contemporaine de Montreal in 2011. Since then, she has created the collective Nébouleuse with Roby Provost Blanchar (videographer) and Gabriel Ledoux (music composer). With this team she has presented at Studio 303, Danse Buisonières, Zone Homa and Maison de la culture Maisoneuve en 2012. As dancer she has worked with Sasha Kleimplatz (2013) Cassiopée Danse Collective (2012), Marie-Eve Lafontaine (2012), Lucie Gregoire (2012) and Interlope with Léa Tremblay Fong (2014). She often works in interdisciplinary collaborations with visual artists; including Pierre Gallais (CIRCA), Valérie Lessard (MiracleW, dance video), Tino Seghal (Kiss, Montreal Contemporary Art Museum). She combined her passion for creation and theatre with Pothos de Lili during a residency at Théâtre Aux Écuries in 2014. Most recently, she has been experimenting with choreography in the multidisciplinary work of Antoine Corriveau, at Usine C with Alexia Burger (2017). She is currently dancing for Anne Thériault for Recitalv (FTA 2018), Sarah-Eve Grant for her project La classe, Emmanuel Jouthe for Vega, and with Bettina Szabo for Cuña.

  • ⍢A note from the Artistic Director⍢

    Coming from a country where women are considered second-class citizens, I discovered new freedoms as woman when I emigrated to Montreal 5 years ago. This change made me aware of the limitation I was faced with that belonged to my culture, but not to me. I became aware that I was perpetuating the very same patriarchal dogma I was fighting. Unfortunately, I am not alone; all women harbor some degree of internalized misogyny.

    I have been researching, observing and listening attentively for the past few years, gathering information and planning the create. As a result, I subdivided my exploration into the different stages of a woman’s life.

    The first was a piece based on childhood, as this seems to be when internal misogyny takes root; the first moments in which girls absorb the social constructs that will empower or limit them for life. My piece Sequelles was based on an online survey about the perception of women, mothers, and childhood (https://www.surveymonkey.com/r/5G9WBM3) and especially women’s response to the question, “what weren’t you allowed to do as a child because you were a girl?.”  (movement research done with Catherine Dagenais-Savard)

    With the final piece of my bachelors’ degree Choices, I explored the theme of emancipation; of breaking free and being empowered. With these two pieces I developed my somatic-creative practice, which is now generating the foundation for Cuña. “Cuña” means “women” in Guarani, the language of the native peoples of my home country of Uruguay, which I find fitting for this creation.

    © Vincent Hubert