Embracing artistic hybridity and global collaboration
The CINARS Biennale is celebrating its 21st edition in November 2024
in Montreal. International Development Director Gilles Doré shares his vision for the organisation and discusses how it is adapting to current socio-political challenges
How does your background influence your approach to managing CINARS?
With over 25 years of experience in cultural management and international development of the performing arts, I have developed a vision focused on the international circulation of contemporary performing arts. This experience has helped me to build connections across continents and navigate the sector through various growth phases and crises. We are currently experiencing a significant shift in how audiences engage with culture (or not), often through the convenience of mobile phones. It is essential to adopt a long-term perspective, extend our reach beyond national borders, and uphold our values despite economic challenges.
I find inspiration in today’s artists, who reflect the complexities of our hybrid, postmodern world. Both the landscape of the arts and its audiences are evolving, and I believe we need to create more opportunities for New Writings, emerging from contemporary artists, as well as for hybrid forms and cultural mixes.
CINARS focuses primarily on the role of the artist’s agent, who specialises in the global circulation of works. The agent, alongside the producer, plays a critical role in our ecosystem by cultivating new audiences as they transport artists and their works from city to city.
My approach emphasises adaptability, which is crucial in all economic sectors. I aim to foster a young, dedicated and enthusiastic team while professionalising the next generation to ensure CINARS remains relevant and vibrant in an ever-changing world.
The 2024 edition puts an emphasis on artistic hybridity and intercultural dialogue. How is this focus reflected in the programming?
For the 2024 edition, we aim to highlight New Writing, artistic hybridity and intercultural dialogue. Artistic forms are expanding, so we will include both large-scale contemporary works, such as Celebrations, and more intimate productions that are easier to tour abroad.
Additionally, we want to prioritise programming for children and young audiences. I believe that all theatres should have young teams curating shows that resonate with their generation. Interestingly, there is also a noticeable shift in how younger generations approach writing for the stage.
CINARS has established partnerships with various international organisations. How do these collaborations enhance the event’s impact and promote global cooperation within the performing arts community?
CINARS initiated the Coalition of Performing Arts Markets, which unites performing arts markets from America, Europe and Asia. These collaborations enrich our networks and facilitate strategic alliances, allowing us to coordinate schedules and foster global cooperation.
The “Discover International Network” event will feature 10 programmers’ networks from every continent, showcasing their organisations to young producers and agents worldwide, with the aim of enriching the professionalisation of those looking to expand their networks.
Given your leadership role, how does CINARS 2024 address today’s socio-political challenges while promoting openness and inclusion in the arts?
Founded in 1984 during the era of globalisation, CINARS’ mission has always been to transcend borders and foster connections. Today’s challenges—climate change, population migration, economic difficulties, protectionism, new technologies that both unite and divide, and the flight of audiences from cinemas—pose significant obstacles for the CINARS 2024 Biennial.
We will come together in Montreal to highlight the importance of performing arts in uniting the world and celebrating its diversity and richness. While we all aspire to protect the planet, it’s vital not to victimise artists who seek to reach audiences beyond their local borders.
Artists play a crucial role in championing humanist values countering the rise of protectionism and aggression. They foster connections not through nationalism but through the transformative power of creation.
This year, you are introducing a new initiative of disciplinary meetings. How will they strengthen collaboration between professionals and contribute to the Biennale’s objectives?
The CINARS Biennale serves as a crossroads for over 1,200 professionals from diverse artistic disciplines. This year, we have organised disciplinary meetings to facilitate smaller group interactions among professionals within the same field. Professionals from contemporary dance, circus, creative music and theatre for young audiences will have the opportunity to share ideas and discuss discipline-specific challenges and inspiring initiatives.
The OFF CINARS programme offers additional shows at various venues around Montreal. How does this programme complement the official programme while promoting diverse artistic voices?
The OFF CINARS programme includes over a hundred additional shows, encompassing circus, dance, music, multidisciplinary and theatre. This rich and diverse lineup complements the official programme, presenting a diverse range of works that will be performed throughout the world.
Montreal will resonate with creativity in every theatre and district. I believe there is a unique creative energy in Quebec that produces high-quality shows appreciated globally. This year, productions from Spain, the Czech Republic, France, Italy, Argentina and South Korea will be featured in OFF CINARS.
How do you leverage the international presence at CINARS to address today’s global challenges in the performing arts?
CINARS attracts over 1,200 professionals from more than 50 countries. Our conferences, workshops and roundtables provide a platform for creators, programmers and agents from diverse regions, including the Indo-Pacific, Western Europe, Aboriginal Peoples, Latin America, Central Europe, Asia and Quebec. This international presence enriches our shared experience and highlights common values important to performing arts professionals worldwide.
Contemporary performing arts are vibrant across all continents, but platforms like Netflix and TikTok often overshadow live artists.
The artistic voices we encounter differ greatly depending on their cultural context, be it Mozambique, Korea, Canada, an Indigenous reserve or India. Yet, the core values of connecting with global audiences remain the same.
How do you see the role of technology in this year’s Biennale and in the future of performing arts circulation?
The primary challenge we face today is the discoverability of works. However, participants at the Biennale can utilise the CINARS app, which enhances this discoverability, enabling professionals to easily find and connect with any of the 122 shows on offer.
Forty years ago, we promoted our shows through traditional methods, like placing ads in student newspapers, on the radio, sticking posters in the streets and handouts in cafés. Today, with the focus on social networks, we must update our promotional strategies.
CINARS is taking steps to become an eco-responsible event. Can you tell us more about this initiative and its potential impact on the live entertainment industry?
CINARS is working with a firm to analyse our production and logistics processes, aiming to develop improvements and transform our value chain. While halting travel is not feasible, we can improve our travel practices! It’s important to recognise that while this is a pressing concern for people in Western countries, the impacts are different in other cultures where basic necessities, such as food, can be a daily challenge.
Finally, what are the highlights or must-see shows that you would recommend delegates prioritise during their visit to CINARS 2024?
All shows are must-sees, depending on audience preference and what programmers are looking for: small, intimate experiences or larger, more dynamic performances.
Key recommendations include SLAM! by Flip Fabrique and Ex Machina, directed by Robert Lepage, which merges wrestling, circus, and theatre, and Uvattini by Elisapie, a music performance featuring 1990s hits sung in the Aboriginal language, enhanced by theatrical elements and projections depicting life on reserves. Other notable shows include Confession Publique by Mélanie Demers, 1 DROP 1000 YEARS by Martin Messier, and Häpp! by Zebradans.
CINARS 2024 will take place from 11 to 16 November, in Montréal. For more information, visit cinars.org/en/biennale