Katherina Radeva, in collaboration with co-director Alister Lownie and their company Two Destination Language, has created an innovative performance titled “Bottoms.” We hope this show will help unpack the complex ideas of value, labor and art that we find in the story of the cancan dance. The cancan is a dynamic and athletic dance style. It began in the working-class dancehalls of mid-19th century Paris, where men largely danced it as a spontaneous social dance.
The titular cancan’s roots go back to “le chahut,” an energetic and chaotic dance marked by its frenetic spirit and varied origins. The cancan grew and thrived under Paris’ lush, dancing canopies. It grew in popularity at legendary performance meccas such as the Moulin Rouge. One of the most popular stars of the cancan was Louise Weber, known best by her stage name, La Goulue. She became famous for guzzling audience members’ drinks on stage, a glimpse at the rambunctious attitude that marked the first days of cancan.
In “Bottoms,” Radeva and Lownie want to show a contemporary take on the cancan, one that breaks away from the traditional norms. Radeva insists that their chorus line was never meant to reproduce the shiny look of the Moulin Rouge. Rather than telling a story, they center on showcasing a diverse, quirky group of performers, whose skill sets and backgrounds differ widely.
“We make a motley crew. And I think that’s glorious to watch.” – Katherina Radeva
The high-kicking cancan chorus line, known for its long legs flying up in a blur while dancers showcase their bloomers to the lively music of Jacques Offenbach, reflects a unique blend of artistry and exuberance. As Radeva elaborates, their approach is quite different, focusing less on a mechanical process or angle matching and rather on the individual.
La Goulue readily emerges as one of the most important figures in the history of the cancan. Royal, aka La Reine Pomaré, is a formidable presence as much for her elegant dance and cutting humor. Tragically, she died of consumption as a young adult. Céleste Mogador, born Élisabeth-Céleste Vénard, was another extraordinary dancer. She used her amazing gifts to escape a life selling sex.
The cancan’s rise to popularity similarly paralleled the shifting landscape of work in society. As Radeva explains, “The workers left work and went to the pub to throw some shapes.” This new cultural sensibility created an environment through which cancan could thrive in hospitable venues that welcomed visitors in search of both leisure and entertainment. The dance form defiantly danced the razor’s edge between ridiculous free styling and accepted behavior. It pushed the boundaries of legality.
Alister Lownie appreciates the craftsmanship involved in dance performances, stating, “There is something joyous in seeing skilled people doing something to the highest quality.” He admits that traditional cancan performances are pretty sexualized. These productions were frequently created for elite markets that favored catered champagne meals.
“It’s enthralling in its way. But it’s also a highly sexualised setup that’s made for the champagne dinner that goes with it.” – Alister Lownie
Radeva isn’t blind to the sordid history that comes along with cancan. Her vision for “Bottoms” was more about recontextualizing it within today’s society rather than condemning it. She aims to highlight joy and inclusivity in their performances, asserting, “Hopefully some of the joy of Bottoms will be in reclaiming a bit of that, with our different bodies, our different abilities.”
The world of the cancan dancers is much larger than just the theaters of Paris. In Yukon, Canada, fierce, dedicated communities ensure the art form continues to energize and enrich their communities. From high culture to low culture, the evolution of cancan is testimony to the dance’s intercultural resilience, vibrance and adaptation over centuries and continents.
“They were the influencers of their day, like the Kardashians.” – Alister Lownie
Radeva gets ready for her performance with palpable joy. She uses the opportunity to remember the contributions of former artistic directors, especially Janet Pharoah who lost her battle with cancer earlier this year. Pharoah played and shaped an important role in solidifying cancan as a theatrical structured performance art form, and not just a social vernacular dance.