An
Exploration of my Process of Creation through a live Artist Journal, full of my Drawings and Words.

J'explore jour après jour au gré des pages remplies de dessins et de mots mon Processus de Création.

26 juin 2014

PAGE 99: MONTRÉAL, 2012-2015

MONTRÉAL,
ville de migrations, port des nouveaux arrivants, cité de transhumance,
au fil de ses quartiers multiethniques,
de ses habitants et de ses paysages urbains 
typiques et atypiques
Portrait d'une métropole 
Petit survol en dessins de mes flâneries de 2012 à 2015





 



 


 
 
  















24 juin 2014

PAGE 98: "Sketching Choreography" - The Dance Current 2014



My experience of sketching Roger Sinha's dancers during their rehearsal for the show
Hi 5 LO 5 wifi takka takka dhim during Fall 2013,
that I had related on this blog in January 2014 on PAGE 83,
ended to be published on The Dance Current of March/April 2014 magazine by Journalist Kathleen Smith. Here are some reflections I shared with Roger Sinha and Kathleen Smith about the process we both lived, the choreographer and  I, during this mutual work's observation.


"As I told, I was also not expecting anything, totally focused into my own experience and research, as a drawer performing live from life, like a reporter-writer-poet and that something of the true moment that can’t be told with words but with drawing movements.
But I knew, instinctively, that I had to be there and live that “creation of movements”, through the eyes of a choreographer.
But through the work of Roger, I went further into my own memory, the way I lived my personal inside movements and life as a creator. As a child you don’t know that your physical appearance, your difference, is going to questioned people around you. It’s because of the outside eyes, that I was able to questioned myself about “why do they say I look like so?”.
Etc, etc…
And at that time I started to go to Roger’s studio, I was already working on “something” personal with craft & visual art, that became few weeks after my ROOTS PROJECT.
Everything took a sense, and was linked for me.
It was a journey.
Also to understand how my art can’t be separated from my first me, the Indian woman.
(I was born in Madagascar from both Indian parents that never been to India, then we had to immigrate to France when I was 5. I came here in Canada more than 8 years ago).
And I remember when I met Roger last summer on the street and we started to talk a bit, he said to me that my art is going to be the reflection of my origins, that is why also he felt as a choreographer the need to go back to understand his own culture, and how his dance medium looks like in the Indian mind.
Cause, even if we were raised into west cultures, we still have that east way of seeing the world always present.
And through a creative process, we can unify the differences, and build a new balance.
And I think in todays worlds of huge  migration movements, our language can suggest a way to go further together with lots of hope and courage and understanding.

As for the collaboration with Roger in his artistic project, there was none.
I think that was not the purpose of this travel.
As Roger’s said, it was two independent walks.
And also, there is a big difference between a choreographer and a visual artist: I work alone.
But, sometimes, among the crowd, I can catch the eyes of another solitude.
That feeds my soul, and help me to go further into my own personnal creative movement.

I am discovering the power of my own way to dance…
Inside-out.

Guess its kind of an universal one…
Cause Roger finaly found similarity with the ways he and his dancers go through a process of creation too.
Whether the medium is, the challenges and choices are quiet similar, when the artist start to walk into an unknown territory."