Breach de Other Animals / Alexandre Morin
with Alexandre Morin, Noémie Dufour-Campeau, Ivanie Aubin-Malo, Simon Renaud, Jonathan Goulet
Photo : Frédéric Chais

Our values

In a few words


La DSR’s work is designed to enrich knowledge and best practices in order to increase and improve the presentation of dance.


By proposing stimulating projects and new approaches, La DSR is helping to make strides in the performance field in Quebec and Canada.


La DSR endeavours to be inclusive. It is open to different forms and practices of professional dance.


By fostering contact between the organizations that it brings together, La DSR provides an impetus for them to develop mutually beneficial relationships.


La DSR and its members are committed to developing dance by improving dance performance conditions.

Years of operation

Some background…

Beginning in the early 1990s, the number of regional dance performances had plummeted. Other than a few exceptions, dance performances were essentially limited to Montreal and Quebec City. At the first États généraux de la danse events organized by the Regroupement québécois de la danse (RQD) in 1994, dance representatives discussed this situation and identified initial potential solutions. The RQD subsequently created a committee made up of dance companies and presenters sensitive to the issue of presenting and sharing dance throughout Quebec to identify ways for dance to be presented again in performance venues across the province. With their wealth of experience, committee members established a series of requirements for implementing dance programming and defined the parameters for a strategy to develop the field and audiences regionally.

In 1997, the RQD created the Pour que la danse reprenne les routes du Québec pilot project with the following objectives:

  • Increase the number of dance performances presented each year
  • Implement annual programming that plans for a growing threshold of issues and reflects current dance trends
  • Increase audience attendance at dance performances
  • Ensure increased fees paid to companies
  • Implement measures to facilitate dialogue between companies and presenters
  • Hire a Project Coordinator

After two years of operation...

The results obtained far exceeded expectations, and activities to develop target audiences proved to be major development tools. Offering audience members direct contact with artists gave them some insight into the shows that they subsequently watched. In terms of companies, beyond the positive impact of the wider dissemination of their work, the stimulating effect of meetings with the public was truly a revelation, and this convergence had a direct impact on their creative work.

In short, after the first two years of operation, two key principles were identified based on results:

  • Audience development work is the cornerstone of the project.
  • The series of three shows can be used to establish consistent practices for dance development.
In terms of audience attendance, box office revenue was – and continues to be – insufficient for presenters to balance their dance show budgets. In addition to the assistance they received through the pilot project, presenters had to invest between $1,500 and $4,000 per performance (up to $12,000 for three shows). Because of this, some presenters had trouble convincing members of their boards of directors of the importance of continuing to provide dance shows to the regional public. Some even withdrew, while others agreed to take over and bear the risks associated with putting on dance performances.

The Benefits of Coordination

The coordination work carried out during the implementation of the pilot project also shed light on the importance of further developing this aspect. Synergy between partners proved conducive to positively propelling discussions and to gaining a better understanding of the reality of performance, creation and production.

Discussions also made it possible to identify other needs to further cement the project, which resulted in the creation of the following tools:

  • An audience development guide to preserve and share the expertise acquired
  • An introduction to dance magazine for ages 12-16
  • Organized opportunities for meetings between presenters, development workers and companies – including Parcours Danse, which is now an annual event.

Since La DSR’s incorporation in 2000, Heritage Canada and the Conseil des arts et des lettres du Québec have supported the organization’s operations.

La DSR sits on the following external committees:

And has established several federating committees:

  • Recruitment Committee
  • Human Resources Committee
  • COVID-19 Committee
  • Parcours Danse Committee
  • Dance for Young Audiences in Canada Committee

Board of Directors


L’organisation sélectionnée n’est pas
membre de La danse sur les routes.