Welcome to Taking the Leap: an online guidebook to production and presentation for emerging contemporary dance choreographers in Montreal. This guide is geared towards recent graduates, self-taught artists and those new to the city. The sections below offer tools and insight into the logistics of production and presentation, while demystifying some practical aspects of being a professional artist in Montreal. To your right is a link towards our searchable directory of emerging artist-friendly presenters, resources and venues. 

The nine chapters of this guide cover a range of different subjects. Because the path of production is not necessarily linear, and every artists’ process is different, they should not be read as a ‘step-by-step’ approach. Rather, each section discusses a specific practical aspect of producing a dance performance, which may or may not be relevant to your individual situation. While we strive to provide an overview of how productions are often realized, it is important to note that it is not necessarily the only way, the best way, or the way it should be. 

There are many different paths towards a professional career in Montreal. We hope this guide can help you to get started!


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SPARK Series (Nov.)

Wednesday, Nov. 26 2025 · 12:30 to 14:00

SPARK Series invites 303 associated artists to share their work and creative process during a major dance festival or platform – here Parcours Danse.

Taking the Leap Guide

Montreal

In this section you will find an overview of creators, presenters, and other local resources.

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Designing your Project

In order to produce your performance, you will need to slowly organize the raw materials of your work into a plan of action.

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Finding a Presenter

A presenter selects the artists and/or work they wish to program and pay a fixed fee for performances.

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Self-presenting

Many artists self-present at some point in their careers, assuming the entire financial burden of creation and presentation.

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Financing

Unless you plan on paying all of your creation and production costs out-of-pocket, it is absolutely essential to raise funds in order to finance your project.

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Administration

While you may not think of yourself this way, a choreographer is, almost inevitably, an employer.

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Production

Once you have set your performance dates, take out a calendar and start scheduling immediately.

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Promotion

In the performing arts, promotion and communications are one of the trickiest parts of presenting work.

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The Big Picture

It is important to remember that each performance you create is part of a bigger picture.

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Resource Directory

Support organizations, performance opportunities and venues available for co-presentation and rental for independent dance productions.

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History – Credits – Acknowledgements

Original concept, research and writing: Lys Stevens

Taking the Leap began 20 years ago in 1999, as part of Lys Stevens’s independent study course in the Contemporary Dance program at Concordia. A print edition existed from 2002-2007 and the guide has been online web as of 2009. Taking the Leap is an invaluable resource – constantly adapting to the current ecology and artist’s needs. Much thanks to all those who have contributed to it over the years!

v. 2019

Writing and revision: Dorian Nuskind-Oder

Artist focus group: Helen Simard, Anne-Flore de Rochambeau, Camille Lacelle-Wilsey, and Nien-tzu Weng

Additional feedback: Kim-Sanh Châu, Miriam Ginestier, Coralie Muroni, Michael Toppings

French Translation: Mélissa Guay

Website design: Samuel Theriault

Photo Credit: Maxine Segalowitz by Kinga Michalska

Financial Support: Le Conseil des arts de Montréal

v. 2007-2018

 Updates and revisions: Kim-Sanh Châu, Erin Hill, Andrew Tay, Jamie Wright

v. 2002 – 2007

Research and writing: Lys Stevens

Updates: Mélissa Guay, Alain Chevarier

Editing: Jenn Clark, Miriam Ginestier, Paul Caskey

Layout design: Nathalie Fortune

Cover design: Gray Fraser

Financial Support: Emploi Québec (Jeunes Volontaires), Canada Council for the Arts

Acknowledgements:

I would like to acknowledge the support of several people with regards to the writing of this guidebook. Whether it was through a workshop, an interview, or the editing of its many versions, their input was invaluable. I am indebted to the following: Esther Robitaille for revision and support; MC Forté for preliminary translation and editing; Studio 303 staff Miriam Ginestier, Paul Caskey, Mélissa Guay, Alain Chevarier, Lyne Maurier and Shelagh Albert; the Regroupement québécois de la danse staff and their workshop-givers Catherine Caron, Johanne Brunet, Clothilde Cardinal, Pierre Desmarais, Martine Labrie and Caroline Lavoie; the Quebec Drama Federation and Steven Schonn for their workshop on theatre production; Daniel Campeau at Éspaces Émergents for his input and series of artist encounters; Dena Davida at Tangente for revision and input; Jen Soutter for editing and support; my parents Janet Stevens and David Fielding; the artists Suzanne Miller, Julie Duzyk, Héloïse Rémy and Marie-Pascale Bélanger for interviews; Marjolayne Auger for her help with updates, Maxine Heppner for initial encouragement and information and finally, Jorelle Pomé for helping me discover my art. (Lys Stevens, 2007)