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= Françoise Graham =

Early years

Françoise Graham is one of Québec's Modern Dance pioneers who both choreographed and taught a combination of dance techniques over the 35 years of her professional career. She was born in Québec City, Canada in 1938 into an artistic family and was always surrounded by artists in many mediums. She began dancing in Modern Dance classes at the age of 14 years old. These early dance studies were with Birouté Nagys in Laban-based Modern Dance, and at the same time, classical ballet with Alexander MacDougall and modern jazz dance with Jeff Henry. In 1965, she traveled to New York City where she discovered the dance technique of Martha Graham, who became an important influence in her work.

Professional Dance Career as Choreographer and Teacher

Her entire artistic career unfolded in and around Montréal. From 1958 to 1962, she danced with and taught for the Feux Follets, a folk dance company whose repertoire included dances from around the world. It was in 1963 that she choreographed, worked on the scenario and danced in "La Boîte à Surprise," a television program of Radio Canada. She also participated in television programs such as "Âge Tendre" and "Femme d'aujourd'hui." Then, in 1968, she founded L'Atelier de la rue St-Suplice. (In-Média...)

It was in 1971 that she founded her dance studio Les Ateliers Françoise Graham (AFG), a place for teaching and choreographing Modern Dance. The school was situated at the corner of Laurier Street and Parc Avenue in Montréal, and offered classes in Graham technique, and also dance exploration to foster creativity. From 1968 to 1980, she presented more than 25 choreographic works. The earliest works of this period, she believes, were her best compositions. Some of her students, from both classes or workshops, have become well-known choreographers: Diane Carrière, Marie Chouinard, Marie-Josée Gauthier, Édouard Lock and Daniel Soulières. She also taught Modern Dance in the dance education program within the Physical Education Department of the Université de Montréal, and also in their Département de psycho-éducation. Some of the students in the Département de danse at the Université de Québec à Montréal were sent to her studio as part of a special program in continuing education.

From 1978 to 1982, she was a member of the board of directors of Qui danse?, founded by Dena Davida, a collective of independent dancers and choreographers in Montréal whose mission was to promote emerging artists. At the end of 1982, along with Madeleine Larose and Liette Laforest, she founded Événements Bézébodé, a non-profit organization offering services to performing artists in Québec in dance and also music and theater. She became it's artistic director, and between 1986 and 1993, she also was the general director. From 1985 to 1987 she was secretary of the board for the Regroupement des professionals de la danse, an organization which represented the interests of dancers and choreographers.

Among the activities of Événements Bézébodé, she established a series of innovative meetings between artists and audiences called "Les Portiques,'" "Parler Pour Parler" and "Rencontr'Art," as well as public rehearsals, with the aim of demystifying contemporary dance practices. And then In the 'eighties, Bézébodé produced a series of new production models called "spectacles-animation." In this period she produced and assumed the artistic direction for the performances of "La Nativité," 'Mini-Mega" and "un Siécle de modes et mainères." They were conceived for a wide, general audience and included singing, dance and theater. Bézébodé closed its doors in 1997.

An archival collection on Françoise Graham is housed at the Bibliothèque de la danse Vincent-Warren in Montréal, and covers the period from 1955-2000. It includes performance programs, press clippings, posters, photos and videos, as well as the administrative activities.

Dance Legacy and Philosophy

She was raised in a family which, throughout three generations, included many prominent public intellectuals, but opted instead to dedicate her life to social engagement. She later realized that art itself embodied this pathway. Throughout her career she believed, and so taught her dancers and students that art cannot be taught but rather that art is the teacher.