Catégorie : Announcements

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2021-2022 PWM + MAI joint support for artists* interested in working with a dramaturg

Applications are now closed.

Abonnez-vous à notre infolettre to stay updated about our latest initiatives.

The Artist

Le Playwrights' Workshop Montréal et MAI (Montréal, Arts Interculturels) sont heureux d’annoncer que le Soutien conjoint aux artistes du PWM et du MAI sera offert à Jamila « Jai » Joseph pour son œuvre Wild Roots!

Learn more about Jamila and her project ici.

The call

IMPORTANT:
Les candidats peuvent postuler à plus d’un programme de partenariat au Playwrights’ Workshop Montréal, mais ne peuvent être bénéficiaires que d’un seul programme de partenariat.

Playwrights’ Workshop Montréal est une organisation faisant partie de la minorité linguistique anglophone. La collaboration de l’artiste avec le.la conseiller.ère dramaturgique se fera donc en anglais. La candidature doit être complétée en anglais.

Artists who have already applied to the MAI’s artist support program Alliance can also apply to this partnership program, but CAN ONLY BE THE RECIPIENT OF ONE MAI ALLIANCE ALLOCATION AT A TIME.
Nous sommes ravis d'annoncer que le PLAYWRIGHTS’ WORKSHOP MONTRÉAL ET LE MAI (MONTRÉAL, ARTS INTERCULTURELS) have joined forces again to Bring back our joint support program for artistes* intéressé.e.s par une collaboration avec un.e conseiller.ère dramaturgique ! 

The following artists are eligible to submit proposals: Indigenous artists (First Nations, Métis, and Inuit), racialized artists (including racialized recent immigrants), members of the 2SLGBTQQIPAA+ communities, Deaf artists, disabled artists, neurodivergent artists, and artists living with chronic illness and/or chronic pain.

*Nous acceptons les candidatures d'artistes de théâtre, de performance, de danse, de cirque, d'arts interdisciplinaires et des arts visuels (avec une composante performative) s'ils souhaitent collaborer avec un.e conseiller.ère dramaturgique de théâtre et de performance.

PWM logo

Playwrights’ Workshop Montréal (PWM) est un centre national de développement théâtral et scénique dirigé par une équipe de conseiller.ère.s dramaturgiques et d’administrateurs culturels. Si l'écriture dramatique est au cœur de ce que nous faisons depuis plus de 50 ans, notre travail s'efforce désormais d'inclure des créations interdisciplinaires. En plus de promouvoir les collaborations entre diverses traditions artistiques, nous nous engageons fermement à soutenir des œuvres reflétant un large éventail d’identités culturelles et d’expériences vécues. 

Accueillant entre 10 et 15 artistes, collectifs et compagnies par an, Alliance est un programme de soutien aux artistes unique en son genre visant à éliminer les obstacles systémiques et structurels qui font barrage à leur pleine participation aux arts. Quels que soient leurs champs artistiques, Alliance offre aux participant.es une allocation de fonds et un accompagnement sur mesure, modulables en fonction des besoins et des désirs d’apprentissage et de création de chacun.e d’entre eux. 

Qu'est-ce que la dramaturgie, et que faisons-nous? 

La dramaturgie est une exploration de tous les éléments composant une œuvre, de la manière dont ils sont réunis pour créer du sens, et du processus de développement de cette œuvre. PWM travaille principalement sur des projets centrés sur le texte et la narration, mais aussi sur des pièces où le texte et la narration ne sont pas les principales composantes ou préoccupations.

Le travail de PWM est centré sur l’artiste et notre processus de collaboration dynamique est conçu pour répondre aux besoins de leur projet. Nous écoutons attentivement pour comprendre l'identité d'un.e artiste, ce qu'il.elle fait et comment il.elle souhaite poursuivre son travail. Nous offrons commentaires et retours à travers de nombreuses questions et conversations, et accompagnons souvent les artistes d'ébauche en ébauche ou d'itération en itération. Nous travaillons en tête-à-tête, mais aussi au travers d'ateliers et de résidences.

PWM understands that the work of playwriting and performance making is not created in a vacuum, but that it interacts with society. Theatre can be impactful, and therefore PWM considers not only how a piece is made and by whom, but also its effect and meaning beyond the walls of its creation studio.

Référez-vous au Guide de l'artiste (PDF, en anglais) pour plus de détails sur ce que comprend ce partenariat conjoint, les critères d'admissibilité et autres conditions.

BOÎTE À OUTILS

Guide de l'artiste (PDF, en anglais)

Les allocations du MAI : fonctionnement (PDF)

Alliance’s intercultural vision (PDF)

Exemple de budget (EXCEL, en anglais)

SOUTIEN FOURNI

Aide personnalisée à la coordination de projet

Allocation de fonds de 5 000$ (pour plus d'informations, reportez-vous au document «Les allocations du MAI : fonctionnement»)

Opportunités de formation et de réflexion en collectif

Accès aux studios de répétition du MAI

30 hours with a dramaturg, including a 20-hour residency

L'accompagnement jumelé pour artistes* intéressé.e.s par une collaboration avec un.e conseiller.ère dramaturgique n'est pas un programme de subventions. It offers an allocation of funds  ($5,000) for the artists to establish mentorships and collaborations, supporting their learning and creation process (for example, to work with a mentor, a sound designer, a choreographer, a grant writer, or other experts and collaborators). Please see the toolbox’s document ‘Les allocations du MAI : fonctionnement» pour plus d'informations sur ce qui est éligible et inéligible.

projet soutenu par la Ville de Montréal, le Gouvernement du Québec et le Conseil des Arts du Canada
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Working Online: What We Learned

With the onset of COVID-19, Playwrights’ Workshop Montréal quickly shifted gears to move its operations online in order to maintain the safety of the organization’s staff, artists, and audience. In the time since, we’ve learned a few key things as a dramaturgical centre, and want to share our findings with you. This is a fairly broad overview, and as time and resources permit, we will be adding to this blog post. 

Online day by day: maintaining community.

Staying connected while upholding a sense of community was a priority very early on. The PWM’s team was lucky as we had just started using Slack regularly, which facilitated the transition to working from our separate homes immensely. While not working together from the same physical space continues to have its challenges, the continuity of regular day-to-day real-time exchanges between staff was ensured. A regular morning and evening check-in for staff via Slack was also quickly established in order to keep consistent lines of communication. While attendance at these check-ins is not mandatory, they have been a pleasant way for employees to not only discuss work-related topics, but also to connect on a personal and social level. For employees who appreciate sharing a social space together, these daily check-ins have been a fantastic way to encourage a sense of community, regardless of one’s level of active participation. And like most theatre companies, we also held weekly Zoom staff meetings to keep projects and planning moving forward. 

Unexpectedly, working remotely has brought a sense of freedom for some. As dramaturgs, we no longer felt constricted to meeting with artists on a schedule predetermined by availability of the creation studio. We finally released ourselves from the deep-seated feeling of our work needing to be witnessed by others, in order for it to be real.   

We did however recognize that working remotely created anxiety in other areas of operation. It became harder to distinguish urgent work from time-sensitive work. Whether this feeling of anxiety was/is due to inhabiting the same space for both work and personal life, or because we are experiencing a recurring perspective when speaking to others (i.e. a head in a box), or simply because it’s all more complicated to juggle everything all the time – the truth is – it’s been overwhelming.  Our unverified conclusion: shifting your physical space makes it easier to separate events and compartmentalize tasks. 

Digital staged readings: a very different beast from live play readings!

Providing our audience with quality digital staged readings has been a giant learning experience. Engaging a virtual audience is very different from engaging an in-person audience. Visual aesthetics and design inevitably have an important role in engaging an on-line audience for a play reading, which is not a primary concern for in-person, in-process play readings. The camera has a crucial role in the overall storytelling process, and it must be considered. The camera is the portal to the audience, With this in mind, setting aside adequate time to rehearse with a camera, film, review, film again, and edit more is absolutely crucial. Be mindful of incorporating accessibility prep into your timeline of tasks, closed captioning needs to verified and edited. 

Digital workshops: preparation is crucial

Over the last year, PWM learned a lot about the inner workings of running a successful digital workshop. While the experience was not without challenges, we had the pleasure of reaching artists from far and wide! Our platform of choice is Zoom, because it is easily available, fairly simple to navigate, and quite stable.

Development workshops: We have found that  a successful workshop via Zoom requires a clear but simple instruction guide for participants. We created a tutorial that used screenshots and graphics, instead of text. This became a great tool to help participants less acquainted with Zoom understand how to download and manipulate the software. Moreover, we offer the option of a scheduled tutorial before the workshop if an individual requires further assistance. It is a great way to ensure that all participants have access to what they need to be comfortable. Moving forward, we plan to include a video tutorial.

Scripts are sent as PDFs and, we suggest, using a split screen Zoom option so that participants can view the active speaker while following the script with minimal interruptions. 

We have found that workshops should be capped at four hours per session. We generally found that energy levels waned past that length. Lastly, emphasizing the importance of good headphones with an external mic doesn’t hurt!

Exploring practice sessions: In setting up our professional development digital workshops, we have discovered that a crucial step involves integrating the facilitators/invited artists technical and/or software preferences. If the facilitator does not have experience using digital platforms, we introduce them to the programs we use: Miro, Zoom including breakout rooms, gather.town, wonder.me). Connecting workshop facilitators with technical staff, in our case, potatoCakes_digital, ahead of time and offering training sessions has ensured that the workshop runs smoothly and with confidence. When requested, the sessions receive unlimited technical support by potatoCakes_digital.

When planning an online workshop we have found that using more than one platform helps to break up the day. Frequent breaks throughout the workshop are also a great way to retain the attention, engagement, and overall morale of the participants. However, it remains difficult to engage participants for more than five hours at a time, even with interactive elements.

Include a longer time for introductions in the online workshop’s schedule. This is an important step in ensuring trust and comfort. See this link for useful ideas on how to set up healthy Zoom environments from Offers and Answers.com. 

The little things we learned working online

A lot of us are now well versed with working online. But, if you are exploring working creatively online for the first time, below are a few things we learned along the way. We hope there is a thing or two in there that will be useful to you! In no particular order:

  • Have your webcam ready, facing you directly in a space that is well lit, and not backlit;
  • It is best to use a neutral backdrop that is not distracting when workshopping a play with actors;
  • Ensure that you are in a quiet room. It’s best if you are not near an open window;
  • Use earbuds/headphones with an external microphone if possible;
  • If you are using earbuds with integrated microphone, avoid wearing clothes that interfere with your mic;
  • Use a hard line Ethernet cable connection for your internet and do not use Wi-Fi (if possible). If you live in a home with multiple internet users, ask if it is possible to be a lone user. If someone in your home is streaming while you are on Zoom, it may make your internet connection unstable; 
  • Consider changing it up! Integrate interactive activities, and regular breaks. 

Creating with Digital Technology

In the coming months, potatoCakes_digital will be filming our studio set up so anyone interested can access information on the equipment we determined necessary to take us through isolation and into a hybrid model. We are committed to offering greater accessibility to our programming.

In addition, we will be launching the Digital Dramaturgy Initiative Website, created in partnership with PTC, MAP and Blyth Festival. The website will showcase a number of digital experiments initiated by theatre artists in Montreal, Winnipeg and Vancouver. The site will feature case studies, presentations by digital experts, and process documentation collected during our DDI residencies. The purpose of the DDI residencies is to explore and expand our collective vocabulary around artistic interactions with digital technology.  

PWM has also been holding community consultations with seven incredible artists, working to identify specific actions to expand accessibility to our programming, our digital platform, and physical space. The gathering of knowledge will be shared with the theatre community in early fall.

PWM would like to thank the following funders, who, without their support, we would not have been able to adapt to the digital sphere in the way we have. 

This initiative is funded by the Foundation of Greater Montreal covid-19 collective fund and the Secretariat for Relations with English-speaking Quebecers.

Publié le

Introducing the Cole Foundation Mentorship Emerging Translators

Playwrights’ Workshop Montréal et le The Cole Foundation are thrilled to announce the participants to this year’s Mentorat pour traductrices et traducteurs émergents de la Fondation Cole, Rhiannon Collett and Elaine Normandeau.

THE ARTISTS

Rhiannon Collett

Headshot of Rhiannon Collett
Photo credit: Yuula Benivolski

Rhiannon Collett (they/them) is an award-winning non-binary playwright, performer, director and translator based in Montreal and Toronto. Their work explores the ritualization of grief, gender performativity, queer/trans identity and the psychological effects of sexual objectification.

Selected playwriting credits include Miranda & Dave Begin Again / Miranda et Dave recommencent encore (2016 Playwrights Guild of Canada RBC Emerging Playwright Award, presented in French at the 2019 Festival du Jamais Lu, and the 2020 Festival les Petites Formes, Martinique); Wasp (commissioned by Nightswimming, presented at the 2019 Rhubarb Festival, and developed at the Stratford Festival Lab), The Kissing Game (commissioned by Youtheatre and Young People’s Theatre, developed at the 2018 Banff Playwrights Lab, produced by Youtheatre, awarded the META for Outstanding New Text 2019); Tragic Queens (commissioned and devised with CABAL Theatre/Wildside Festival 2018); There Are No Rats in Alberta (created as a part of the 2017-18 Buddies in Bad Times Emerging Creators Unit, presented at the Rhubarb Festival 2018 ), and the English language translation of Chienne(s) by Marie-Eve Milot and Marie-Claude St-Laurent (in development with BoucheWHACKED! Theatre Collective). Rhiannon’s work is funded by the Toronto
Arts Council, the Canada Council for the Arts and the Ontario Arts Council.

Rhiannon was a guest artist at the LungA festival in Seyðisfjörður, Iceland and artist-in-residence at the Mauser Eco House in Costa Rica. They are a graduate of Generator’s Performance Criticism Training Program, Buddies in Bad Times Emerging Creators Unit, Playwrights’ Workshop Montreal’s Young Creators Unit and Black Theatre Workshop’s Artist Mentorship Program.

Rhiannon is a settler in Toronto, on the traditional territories of the Mississaugas of the New Credit First Nation, the Huron-Wendat and the Haudenosaunee peoples, and in Tiohtià:ke (Montreal), on the traditional, un-ceded territory of the Kanien’kehá:ka people.

Play in translation: Ces regards amoureux de garçons altérés by Éric Noël

Elaine Normandeau

Headshot of Elaine Normandeau
Photo credit: John Lederman

For 25 years, after studying law and then theater, Elaine Normandeau has worked as an assistant director and stage manager in French and English theatre.

During these years, she had the privilege of working on landmark productions such as Le Procès et Siegfried by Wagner directed by François Girard, One Flew Over the Cuckoo’s Nest et Le misanthrope directed by Michel Monty, Belles-Soeurs directed by René Richard Cyr, Intérieur et Au coeur de la rose directed by Denis Marleau, Variations énigmatiques, Un fil à la patte et Equus directed by Daniel Roussel,  Une musique inquiétante/Old Wicked Songs directed by Martin Faucher, Waiting for the Barbarians et Amadeus directed by Alexandre Marine and Top Girls directed by Micheline Chevrier. In 2017, Elaine Normandeau participated as linguistic director in the film  Hochelaga, terre des âmes by François Girard, immersed in Mohawk and Anishnaabe cultures. She also works as a translator and creates surtitles for the theatre.

Play in translation: Muliats by Charles Bender, Charles Buckell, Marco Collin, Xavier Huard, Natasha Kanapé Fontaine et Christophe Payeur (le collectif)

LE PROGRAMME

The translation of new work for the stage is a core part of our programming. Since its inception in 2013, the Mentorat pour traductrices et traducteurs émergents de la Fondation Cole (formerly Cole Competition for Emerging Translators) has been guiding the next generation of translators from French into English. 

With the expert guidance of acclaimed translator Maureen Labonté and in partnership with the Fondation Cole, PWM has built a program that mentors emerging translators through every stage of the process. The successful candidate receives a $1,000 honorarium and an eight-month mentorship with Maureen Labonté which includes a workshop with actors and a public reading.

Plus de détails sur le programme disponibles ici.

Ce programme est un partenariat entre
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Publié le

Playwrights’ Workshop Montréal announces the upcoming departure of Executive & Artistic Director Emma Tibaldo

It is with gratitude for her dedication to the organization and the theatre community, that our Board of Directors announces the upcoming departure of long-standing Executive and Artistic Director Emma Tibaldo. After 13 years at the helm of the organization pushing the boundaries of dramaturgy, Emma will make way for a new generation of leadership.

“Emma’s impact on the Canadian theatre stage is immeasurable. At Playwrights’ Workshop Montréal, she has collaborated with hundreds of artists and spearheaded the development of innovative works across the nation. Her tireless dedication to supporting artists and bringing unheard stories to life is a true inspiration,” says Board President Naïma Kristel Phillips. “I particularly appreciate Emma’s ability to build community and make artists feel at home. Along with the team at PWM, she has created a space that welcomes and celebrates the voices of creators who might otherwise be overlooked. We see this leadership transition as an opportunity to build on Emma’s legacy and continue to delve deeper as PWM leaps into the future.”

Emma stepped into the Executive and Artistic Director role in early 2008. During her time at PWM, she successfully transformed the organization from a member-based service organization to a nationally-mandated theatre development centre, further expanding its mandate to support interdisciplinary performance. Emma has worked with playwrights from across the country, building lasting dramaturgical relationships, and bringing countless new Canadian works to life. She continued to grow PWM into an organization dedicated to discovery and experimentation. 

  • Emma with past general manager June Park at PWM’s 50th anniversary celebration in 2013
  • Carol Libman and Emma Tibaldo
    Emma with PWM’s founding member Carol Libman in 2017

As Artistic Director, Emma established the Résidence d’écriture théâtrale de Gros Morne, in collaboration with the CEAD, bringing French and English playwrights together to write, dream, share and create, and the EstérELLE residency, focused on the development of new plays by English Language Québec female playwrights. Emma is a staunch supporter of theatre translation, further developing the Résidence de Traduction Glassco à Tadoussac which, to date, translated 63 plays for the stage, and launching the Mentorat pour traductrices et traducteurs émergents de la Fondation Cole, set up to identify and mentor the next generation of translators. 

“Sometimes you just need to leap into the unknown—now is that time for me.” Emma says, “I made this decision knowing that the organization was ready for new leadership. The company has grown, the process of dramaturgy has deepened, and the studio has finally come to completion. The relationships I have developed while at PWM have inspired and sustained me. I am incredibly grateful to our General Manager Lesley Bramhill, Dramaturgs Fatma Sarah Elkashef, Jesse Stong, and Maureen Labonté, our incredible staff-current and past, tireless board, and the innumerable artists and community members who have all carried PWM with me. Thank you. Deeply. PWM is the sum of the incredible humans who have called it home. I can’t wait to see what happens next. Magic exists, because creators dare to dream.”

  • Emma in 2017 at PWM’s then-new office and studio space
  • Emma and general manager Lesley Bramhill holding the 2019 Equity, Diversity, and Inclusion (EDI) and Unsung Hero of the Theatre (UHOT) META Awards, respectively.

Just last year, Emma was the recipient of the Elliott Hayes Award for Outstanding Achievement in Dramaturgy. This prestigious accolade demonstrates that the international community, too, took notice of the work she accomplished during her tenure at PWM.

On Emma’s time at the organization, Lesley Bramhill, PWM’s General Manager says: “Emma’s dedication for emerging and established artists alike is remarkable. I will continue to be inspired by her leadership, passion and care. As PWM’s GM, I witnessed the impact she made on our local and national theatre community. The organization Emma nurtured for over a decade is growing strong, and we at PWM are so grateful and honoured to continue the legacy of her work.”

Further details about the next stage of Playwrights’ Workshop Montréal’s leadership will be announced in the coming weeks. A leadership search is currently scheduled for late spring-summer 2021. The Board of Directors is working together with Emma on a transition plan taking into account her current dramaturgical relationships at PWM, and providing for moments for her to return as a dramaturg in 2021-2022, and beyond. 

In the meantime, a huge thank you to Emma and the staff for their commitment to PWM, their accomplishments, and the growth we experienced under her leadership. She has all of our love to carry into the next chapter of her career. 

Publié le

Our position against anti-Asian racism

Stop Asian Discrimination

Playwrights’ Workshop Montréal condemns anti-Asian systemic racism and all forms of racist violence against Asians, Asian-Americans, Asian-Canadians.

Since the start of the COVID-19 pandemic, anti-Asian rhetoric has escalated in North America, as we witnessed racially-motivated hate crimes all over Canada and the U.S. In Montreal alone, police recorded 22 crimes specifically targeting Asian people between March and December of last year — 19 more than the year before. In Vancouver, anti-Asian hate crime incidents rose by 878% compared to last year, from 9 to 88. And this does not take into consideration the cases of aggression against the Asian community that have not been reported to authorities. 

Playwrights’ Workshop Montréal joins the thousands of people who marched in downtown Montreal last Sunday to honour the lives and grieve the losses of Xiaojie Tan, Delaina Ashley Yuan, Paul Andre Michels, Daoyou Feng, Soon Chung Park, Hyun Jung Grant, Suncha Kim and Yong Ae Yue.

We stand in solidarity with our Asian community members – artists, workers, audiences and friends, whose contributions make our work possible. We express our unwavering support for the work needed to create a safe and inclusive environment in the Montreal theatre community, and stand with all creators fighting for social justice and equity.

Finally, Playwrights’ Workshop Montréal condemns the Quebec government’s continued denial of systemic racism in Quebec, as voiced by Premier Francois Legault in 2020 et recently by the newly appointed Minister Responsible for the Fight Against Racism, Benoît Charette. PWM will be following the work of Quebec’s anti-racism committee critically.  

We also encourage our community members of all backgrounds, but especially those who benefit from racial privilege, to educate themselves on the long history of systemic anti-Asian racism in Canada. Folks wishing to learn more and contribute to local resources are invited to look at the list below.

Report a racist incident, consult anti-racism education resources, and celebrate Asian-American people at Act2endracism.

Visualize the spectrum of experiences felt across Asian Canadian communities during the COVID-19 pandemic by visiting covidracism.ca. The documentation collected through the project will inform future efforts for collective action against anti-Asian racism and xenophobia.

Read the resources put together by Project 1907, a grassroots group made up of Asian women seeking to elevate underrepresented and undervalued Asian voices in mainstream political, social and cultural discourse, including amplifying the voices of women.

Peruse the Represent Asian Project, a website celebrating, advocating and elevating Asian representation in various fields.

Participate in the bilingual Facebook group Groupe d’Entraide Contre le Racisme Envers les Asiatiques au Québec, a platform for mutual aid. The group advocates informative and constructive exchanges.

Scaffolded Anti-racism resources (an extensive list of resources organized by stage).

Anti-racism resources for white people (another comprehensive list of resources).

Publié le

Tanha Gomes est l'artiste du programme d'accompagnement jumelé PWM+MAI

Playwrights’ Workshop Montréal et le MAI (Montréal, Arts Interculturels) sont ravis d'annoncer la saison inaugurale de leur accompagnement jumelé aux artistes intéressé.e.s par une collaboration avec un.e conseiller.ère dramaturgique avec l'artiste Tanha Gomes et son projet Couronnes de cendres !

L'ARTISTE

Headshot of artist Tanha Gomes
Photo par Daniele Barroso

Artiste visuelle et travailleuse culturelle, Tanha Gomes a travaillé dans plusieurs centres d'artistes et galeries d'art à Montréal. Depuis 2011, elle participe à des initiatives qui font découvrir l'art à des personnes de tous âges.

Née dans une famille multiculturelle au Brésil, elle a déménagé au Canada à l'adolescence et vit depuis entre ces deux mondes. Son expérience de l'immigration l'amène à explorer les liens entre le déplacement, la mort et la mémoire. Fascinée par les traces de l'histoire personnelle sur les corps et les trajectoires des gens, elle utilise la photographie pour mener des explorations intimes et délicates de l'identité. Elle cherche à créer des œuvres contemplatives en utilisant le temps comme matière première, souvent avec de longues expositions qui exigent que les corps restent immobiles. Les images de Tanha sont marquées par un aspect performatif, par de simples empreintes ou une promesse de mouvement. Récemment diplômée d'une maîtrise en éducation des arts, elle aspire à développer sa pratique artistique autour de l'identité culturelle.

LE PROJET

Exploration des liens entre mémoire, absence, rituel et deuil, Couronnes de cendres consistera en une installation vidéo et photo nourrie par une série d'ateliers créatifs avec le public. L'installation plonge le spectateur dans une vidéo multicanale d'une durée de plus d'une heure, jouée en boucle, accompagnée d'une murale de photos des objets réalisés lors des ateliers. 

L’histoire des couronnes

Le projet est inspiré d'une histoire racontée à Tanha par sa mère. Suite au décès d'un jeune cousin dans les années 50, les femmes de la famille ont commencé à rendre régulièrement hommage à leurs proches décédés en confectionnant des couronnes funéraires à partir de fleurs en plastique. Quelques jours avant le Jour des Morts, ils se rassemblaient autour d'une table à l'heure du thé pour tisser ces couronnes, qui devenaient des portraits du ou de la défunt.e, arborant leurs couleurs préférées et référençant leur vie et certaines de leurs caractéristiques. 

Tanha est la première artiste soutenue par le programme d'accompagnement jumelé PWM + MAI. Sur la durée du programme, elle bénéficiera d'un accompagnement personnalisé pour son projet, d'une allocation de fonds de 5 000 $, de possibilités de formation et de réflexion, d'un accès aux studios de répétition du MAI et de 30 heures avec un dramaturge.

LE PROGRAMME

L'accompagnement jumelé PWM + MAI accompagne les artistes dans leurs parcours pour développer un projet et approfondir leurs connaissances. Il s'adresse aux artistes rencontrant des obstacles structurels et systémiques à leur pleine participation aux arts en raison de leur identité revendiquée et/ou perçue dans la société. 

Plus de détails sur le programme disponibles ici.

We are so proud to support the development of Tanha’s project, and wish her a fulfilling creation process!

Ce programme est un partenariat entre
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Projet soutenu par le gouvernement du Québec dans le cadre de l’Entente sur le développement culturel, par la Ville de Montréal et par le Conseil des arts du Canada.
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