{"id":154204,"date":"2026-03-10T09:15:17","date_gmt":"2026-03-10T13:15:17","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/semaine-du-neuf-nous-percons-les-oreilles-limprovisation-au-centre-des-corps\/"},"modified":"2026-03-11T11:36:31","modified_gmt":"2026-03-11T15:36:31","slug":"semaine-du-neuf-nous-percons-les-oreilles-limprovisation-au-centre-des-corps","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/semaine-du-neuf-nous-percons-les-oreilles-limprovisation-au-centre-des-corps\/","title":{"rendered":"Semaine du Neuf | Nous per\u00e7ons les oreilles,\u00a0improvisation at the center of bodies"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>On March 14, as part of <strong>Semaine du Neuf<\/strong>, Jean Derome and Joane H\u00e9tu will present <strong>Au confluent des \u00e2mes<\/strong>, an improvisation event shared with dancers Sarah Bild and Susanna Hood.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\">For decades, the two artists have explored the shifting territories of improvisation with their duo Nous per\u00e7ons les oreilles. Two alto saxophones, two voices\u2014but above all two forces that respond to one another, pursue each other, and blend together. On stage, breaths intersect, timbres rub against one another, objects creak, hiss, and resonate. Sonic gestures almost become creatures: gargoyles, satyrs, or mischievous spirits emerging from a sonic bestiary. Music loses its familiar contours and becomes a profane incantation, a hall of mirrors, and a feast of sounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\">In Au confluent des \u00e2mes, this symbiosis expands. Two moving bodies join the two musicians, creating a space where voices, objects, gestures, and presences meet in the moment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong><strong>PAN M 360:<\/strong> First of all, where does the title <strong>Au confluent des \u00e2mes<\/strong> come from?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome:<\/strong> I think I proposed it. The concert will be an improvisation with two dancers. So we\u2019ll be two musicians and two dancers. In free improvisation, I often feel that souls meet in a very transparent way. There is a blending of each person\u2019s spirit. The title evokes that idea\u2014like several rivers converging at a common point. In this case, that point is the performance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu:<\/strong> We share the stage with Sarah Bild and Susanna Hood, who have a similar vision of improvisation. We live in the present moment. The gesture that happens there will not come back. We\u2019re not trying to reproduce something. Each concert will be different. We interact in a way that may seem abstract, but is very real. The title fits well with the energy between the four of us.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome:<\/strong> In improvisation, it\u2019s mostly about accepting what happens without preparing anything. Some people use improvisation to find ideas that they later fix into a composed work. They improvise, identify interesting passages, and then structure them. That\u2019s not our approach. We accept what improvisation generates without trying to reproduce it. Every time we begin again, we try to forget what happened before. Ideally, we start from a blank page. It\u2019s paradoxical to say that, since I\u2019ve been doing this for fifty-five years. But the idea remains not to rely on what we already know.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu : <\/strong>And you shouldn\u2019t judge what\u2019s happening while you\u2019re doing it. If you start telling yourself a moment is good or bad, you step outside the experience. You simply have to stay present. A less successful passage can lead to something extraordinary. You have to accept the imperfections of the moment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>PAN M 360 : Can you sometimes come close to a perfect moment?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome : <\/strong>Maybe, but when that happens we try to forget it. What matters is to make the gesture again\u2014differently. The goal is to always remain fresh and honest.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>PAN M 360 : You mentioned free improvisation, but your practice also seems to exist on the margins of certain musical traditions.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome : <\/strong>Yes. We don\u2019t really situate ourselves within contemporary music as it is usually understood. We identify more with musique actuelle. Even within improvisation, we situate ourselves beyond free jazz. Jazz is often the reference point for improvised music, but it\u2019s not our starting point.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\">In this concert, we won\u2019t use our usual instruments. Joane and I normally play the alto saxophone, and I also play the flute, but here we\u2019ll only use objects: whistles, duck calls, aluminum plates, pieces of plastic used to wrap flowers\u2014any object capable of producing a sound.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\">We stand behind a small table filled with objects. When we imagine a sound, we look for the object that can produce it. It\u2019s very spontaneous, but with experience you develop a large palette. The possible combinations are immense.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>PAN M 360 : How did you manage to integrate Sarah Bild and Susanna Hood into your creative process?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu : <\/strong>When we play just the two of us in Nous per\u00e7ons les oreilles, the dynamic is different. Here there are bodies moving around us\u2014a physical presence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\">One might think the music accompanies the dance, but that\u2019s not really the case. It\u2019s a meeting between four practices. These dancers also have a long history together. They\u2019ve developed a very strong relationship, almost theatrical. They speak, sing, and dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\">Jean and I remain behind our tables, but there is still interaction. It\u2019s not a dance show with music, nor a concert with dance. It\u2019s truly a project by the four of us together.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">And there\u2019s also the audience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\">In improvised music, its presence strongly influences what happens. When the performance works, you feel that the stage and the room become one. That feeling of symbiosis is very powerful\u2014and the audience feels it too.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>PAN M 360 : How do you prepare for such an unpredictable moment? Do you rehearse with the dancers?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome : <\/strong>We do some improvisations together and sometimes talk about what happened, but very little. In theory, we could almost present the concert without rehearsal. In this case, we rehearse mainly because the dancers need it more. Movement involves a physical relationship with space.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu : <\/strong>Yes. For dancers, the main instrument is the body. They need to rehearse a lot to integrate things physically. Dancers rehearse enormously\u2014much more than musicians. We already thought there were many rehearsals. But for them, it\u2019s necessary.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>PAN M 360: How do the rehearsals unfold?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu : <\/strong>We tried improvisations of different lengths\u2014five minutes, twenty minutes, forty minutes. Duration is a difficult aspect of improvisation. It\u2019s interesting to feel what forty minutes represents, since that will be roughly the duration of the concert. We don\u2019t work with a stopwatch. Everything happens by sensation. During the concert there may also be moments when we stop and then start again. The audience will understand that it\u2019s not an ending, but rather a new chapter.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">We also tried shorter exercises\u2014for example, one dancer with one musician, then the reverse. But in the end these are mostly working processes. We don\u2019t really retain those exercises.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome : <\/strong>Maybe we retain something unconsciously, but never with the idea of saying, \u201cThat was good\u2014we\u2019ll do that again.\u201d We simply try different situations: shorter formats, longer ones, different positions in space.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu : <\/strong>Yes, we did work on positioning in the room. At one point we found an arrangement that suited us and didn\u2019t change it afterward. That\u2019s the one we\u2019ll use for the concert.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>PAN M 360 : Is there any chance that it might change during the performance?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu : <\/strong>The general positioning will probably stay the same.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome : <\/strong>But a musician might move into the audience space to play somewhere else. That\u2019s possible.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Joane H\u00e9tu : <\/strong>And the dancers can also approach us.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>Jean Derome : <\/strong>In any case, the concert will be presented in Montreal, then in Quebec City and Rimouski. So there will inevitably be three different versions. The venue and the audience always influence what happens.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:20px\"><strong>PAN M 360 : Perhaps that\u2019s the beauty of improvisation: a living music that transforms according to places and encounters. On March 14, at the heart of <strong>Semaine du Neuf<\/strong>, the Montreal audience will discover its first version.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On March 14, as part of Semaine du Neuf, Jean Derome and Joane H\u00e9tu will present Au confluent des \u00e2mes, an improvisation event shared with dancers Sarah Bild and Susanna Hood. For decades, the two artists have explored the shifting territories of improvisation with their duo Nous per\u00e7ons les oreilles. Two alto saxophones, two voices\u2014but [&hellip;]<\/p>\n","protected":false},"author":1485,"featured_media":154079,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[4628],"tags":[],"genre":[8058,3197,8518],"class_list":["post-154204","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","genre-experimental-contemporain-en","genre-free-improvisation","genre-musique-actuelle-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Semaine du Neuf | Nous per\u00e7ons les oreilles,\u00a0improvisation at the center of bodies - PAN M 360<\/title>\n<meta name=\"description\" content=\"Jean Derome et Joane H\u00e9tu pr\u00e9sentent Au confluent des \u00e2mes, \u00e9v\u00e9nement d\u2019improvisation partag\u00e9 avec les danseuses Sarah Bild et Susanna Hood.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/interviews-panm360\/semaine-du-neuf-nous-percons-les-oreilles-limprovisation-au-centre-des-corps\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Semaine du Neuf | Nous per\u00e7ons les oreilles,\u00a0improvisation at the center of bodies - 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