"Moss caring" Tokyo
"Moss caring" Tokyo


Une nouvelle version de la démarche artistique de Sarah Bronsard est en cours de rédaction et sera disponible à compter du 1er juillet 2020.


Merci de votre patience et n'hésitez pas à écrire à pour toute question. 


credit : Anne-Marie Baribeau
credit : Anne-Marie Baribeau


Sarah Bronsard is a choreographer and multidisciplinary artist based in Montreal : after working in blown glass, painting, digital and electronic arts, she finds her fertile ground in flamenco and contemporary dance. Through various collaborations, she inhabits the fertile tension between tradition and exploration, embracing what emerges at the encounter of other artists and traditions. 




Her projects have been presented in Quebec and Europe (France, Wales, Italy, the Netherlands) and have received valuable support from the Canada Council for the Arts and the Conseil des arts et des lettres du Québec numerous times. She recently received a grant from the Conseil des arts et des lettres du Québec for a residency at Tokyo Arts and Space Center (Tokyo, Japan) in 2020, as well as a scholarship to develop a project at the encounter of gigue (quebecois step dancing) and flamenco in her own body.


Sarah’s work has been hosted in Montreal at Tangente (Montreal), Théâtre Aux Écuries (Montreal), Studio 303 (Montreal), Studio Pleamar (Montreal), Royaumont Abbey and Mains d'Oeuvres (France), Chapter (Cardiff, Wales), Theater Aan De Rijn (Arnhem, Netherlands), Interplay Festival by Mozaico Danza (Turin, Italy). Her first creation 4kg premieres in 2012 at Studio 303 and M.A.I. as part of the festival FRINGE and won the prize "best original creation" given by Cirque du Soleil. She extends this piece through the project Ce qui émerge après (4kg), a solo presented during the international tour Dance Roads in 2014 (France, Wales, Italy and the Netherlands). In December 2015, she presents En attendant le pick-up, a co-creation with the contemporary gigue choreographer Nancy Gloutnez, co-presented by BIGICO and Tangente at the Monument National. She collaborates with Antoine Turmine in the piece Ce que savent tes pieds presented at OFF BIGICO 2017. She cocreates the piece Le frottement du monde in 2017 with the composer and cello player Emilie Girard Charest. Her recent creation Èbe, developped with Patrick Saint-Denis (audio art and robotics), in presented in 2018 at Wilder Espace Danse by Tangente and in 2019 at the Société des Arts Technologiques, as part of the Montreal Nouvelles Musiques festival, organized by the Société de Musique Contemporaine du Québec. In October 2019, she took part in the event Nous (ne) sommes (pas) tous des gigueurs, co-presented by Danse Cité and BIGICO, on the initiative of Sophie Corriveau and Katya Montaignac at Théâtre aux Écuries. She also co-organized an Improvisation match between Gigue and Flamenco with Jonathan C. Rousseau presented at Bain Mathieu. Èbe tours in seven Maisons de la culture de Montreal in November 2019.




Sarah’s passion for flamenco started in 2003, and after graduating from Concordia University with a BFA in New Media (IMCA) in 2009, she trained in contemporary dance in Montreal and Paris. She participated in the 2010-2011 Transform-Se Prolonger program at Royaumont Abbey (France) under the direction of Myriam Gourfink and Kasper T. Toeplitz, with the support of the Conseil des arts et de lettres du Québec and the Royaumont Foundation, where she collaborated with various choreographers and electroacoustic composers. She also takes part in various activities of the Montreal flamenco company La Otra Orilla, including the Paso a paso mentoring workshop in 2011.


In parallel with her creative projects, she completed a Master's thesis in research-creation in 2019 at the UQAM Dance Department on the issues of intercorporeity between dance and music, based on the analysis of co-creation process of the piece Le frottement du monde, with the composer Émilie Girard-Charest, under the direction of Nicole Harbonnier and Caroline Raymond. 



Dossier de presse 2019
SB_dossier de presse_30.05.19.pdf
Adobe Acrobat Document 433.3 KB