What if each territory had its dance, what would that of the Quebec forests?

Is it possible to dance the forests and territories of Abitibi-Témiscamingue? Is it possible that these territories have a dance that is theirs? As part of my research, I try to enlighten these questions, to promote meetings and sharing between body and nature.

Somatic practice, in other words dance, then cultural and natural landscapes, are often separated, for several reasons. However, it appears to me, following other researchers and artists, that their connection opens up rich theoretical and artistic perspectives.

As an artist-researcher, my work is at the intersection of dance, digital art and cultural anthropology. I am trying to create bridges between cultures and territories.

This article proposes to shed light on how digital tools can be used to capture and retrace the peculiarities of a cultural landscape, which can then be fueled a somatic practice.

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To meet new territories

My project takes place in the territory of Abitibi-Témiscamingue, more precisely in the Kiwanis park in Rouyn-Noranda, a place rich in interactions between the environment and human societies.

As part of my research, I consider interactions between nature and humans as constituting a “cultural landscape”, which I retrace by merging somatic practices and local cultural traditions.

For example, during my meeting with Valentin Foch, a member of the collective at the origin of the La Forêt Digital project, I observed how their interactive approach redefines the relationship between humans and its environment through immersive facilities and digital projections that highlight forest landscapes and regional biodiversity.

By articulating my reflection in my turn to local natural landscapes, I strive from my own cultural heritage to envisage dialogues between nature, body and digital art.

The methodology of this project is based on a four -step approach.

1. Search in the field

Field work at Kiwanis Park began with a systematic exploration of the natural environment. It was a question of observing the vegetation, seasonal cycles and natural dynamics specific to this territory. I was thus able to document the transformation of the trees over the seasons, or the variations in the colors and textures of the floors.

These observations allowed me to identify characteristic elements of the landscape, such as the repetitive movements of the branches under the effect of the wind, or the rhythm of the waves on the lake.

The goal of my research then consists in translating these various elements in precise and reproducible body gestures, which can then be integrated into my somatic practice.

2. Somatic practice in the field

Somatic practice on the ground is based on a series of structured exercises aimed at exploring physical and sensory interactions between the body and the natural environment.

Each session begins with a complete immersion in the landscape, where observation and sensation play a key role. This step includes the identification of the specific elements of the environment, such as the direction and the speed of the wind, the texture of the soil or the movements of the plants, which directly influence the choices of movements.

This method also incorporates reflexive breaks, during which I sit down or hold motion to observe how my body adapts to the ambient stimuli. These moments make it possible to capture instinctive or unconscious reactions, which then enrich the choreographic gestures.

Thus, the body becomes an active interpreter of the landscape.

3. Ecosomatic practice

Ecosomatics, a concept developed by the Australian researcher Raffaele Rofo, constitutes an essential framework in my approach.

This approach explores how natural cycles and ecological phenomena influence bodily experiences. In this context, each movement carried out on the ground is designed to reflect or dialogue with the natural processes observed, whether it is the swing of the branches, the progression of the waves or the surrounding sounds.

As part of my research, I approached ecosomatic from my cultural heritage, Tai-chi and oriental folk dances. The Tai-Chi, based on circular and fluid movements, allowed me to develop a gesture in harmony with the natural dynamics of the Kiwanis Park.

For example, the opening postures of the arms and the rotations of the torso are adapted to reflect the trajectory of the branches balanced by the wind.

Oriental folk dances, on the other hand, offer a unique cultural perspective to enrich choreographic movements. These dances, often inspired by natural elements such as rivers, mountains or seasons, have been adapted to correspond to the specific characteristics of the Quebec landscape.

By combining these traditions with direct observations of the field, I have developed movements that transcend geographic and cultural borders. These gestures not only reflect the peculiarities of Abitibi-Témiscamingue, but also establish a bridge between oriental and Western philosophies.

Choreography and digital art: an immersive experience

The choreography developed in the context of this research is based on a detailed analysis of the interactions between the human body, natural elements and cultural traditions.

The process begins with a deconstruction of natural movements observed to identify the recurring reasons. For example, the movements of the trees agitated by the wind were analyzed to isolate specific sequences, such as rhythmic balances or slow rotations. These elements were then translated into bodily gestures, integrating fluid transitions to capture the continuity observed in the wild.

The digital aspect of this project, entitled Module d’excursionis based on the use of motion capture technology (MOCAP). By carrying sensors placed strategically on different parts of the body, my choreographic movements are precision. In addition, this digital approach facilitates archiving and transmission of choreographic practices.

Video-dandon and intercultural transmission

As part of this research-creation, I made a video-dance that puts in dialogue my Bouyei cultural origins and the Quebec environment of Kiwanis Park. The creation process has combined precise choreographic choices, a thoughtful staging and visual capture techniques.

This video-dance goes beyond simple artistic performance: it constitutes a tool for cultural transmission. By integrating concrete elements of the Bouyei and Quebec traditions in a visual and accessible format, it offers a way to raise awareness among different audiences of the importance of preserving and honoring intangible cultural heritage.

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In addition, this work becomes not only a visual performance, but also a living intercultural dialogue and a testimony of the harmonious coexistence between tradition and innovation.

Concrete impact and radiation

The project Module d’excursion had a significant impact both at the local and international level. After his first public projection at the Petit Théâtre du Vieux Noranda, this project was presented at the University of Quebec in Abitibi-Témiscamingue (UQAT), attracting a large university audience.

The success of these projections, as well as the recognition of the second prize in the World Art Moving competition in January 2023, testify to the scope and the relevance of this artistic approach.

The project also received visibility in China. Its presentation at the 90ᵉ ACFAS Congress in April 2023 and its Régal Prize in the city of Rouyn-Noranda in November 2024 illustrate the impact of this initiative on the local cultural scene.