Annie Trudeau’s passion for dance was first well demonstrated when she chose her career as a dance teacher and performer over her engineering physics degree’s possibilities. She also trained as a competing artistic gymnast when she was a teenager. She is a co-founder and co-owner of Studio 88-SWING in Montreal (Canada) where she teaches swing since 2001. As the artistic director, she also manages and dances in the Montreal Swinging Air Force dance performance troupe, which has been International Lindy Hop Champions in 2010-11 and 2014 and Canadian Champion 2013-14-15. She is passionate and enthusiastic as a swing dancer, teacher and competitor. She has numerous titles in competition including 6 first place at International Lindy Hop Championships (2008 to 2013 included) in Washington in the Showcase Category and also first place at the European Championships in London in October 2013. She also danced at the Montreal Jazz Fest with the electro-swing band Caravan Palace, was hired as a choreographer for the Cirque du Soleil and lately coached artists for the TV Show ”Les Dieux de la Danse” in Canada. Annie has dedicated the last 10 years of her life full time to her dance business and to her art, and she loves to share her experience and knowledge to students of all levels and ambitions.
Name: Annie Trudeau
Home base: Montréal, Québec, Canada
Year you started competing: 2001
approximately how many competitions have you competed in: 60 in swing, much more if you take into account gymnastic and figure skating.
* Why do you compete?
To push the boundaries of my artistry and to contribute to the evolution of swing dancing.
* Why do you think competition is valuable?
I think competition gives a goal to any individual, couple or team who want to create a piece and perform it. Having a goal that has a specific time restriction helps gather the ressources in order to accomplish a certain amount of smaller goals, or to achieve a new skill, or to get to a certain level that one (or a group) can decide prior to the project. If it’s improv category, it provides a platform and a goal to work up to as well because improv skills can be worked on in the studio or on the social dance floor before going to a comp. I think the more competition is something you do as a way to improve, the most healthy and positive it is. The more one consider competition as a way to compare to other people, the more it *can* have more of a negative or depressing impact on the participants.
* What’s your personal philosophy on Jack and Jills?
I try to create the best dancing moment possible. How I go about this is first of all on a personal level. With my partner, I try to create a connection that makes it so we feel we can trust each other in being ourselves, and it’s ok to make ”mistakes”. When that atmosphere is established, then both partners can be at their best precision wise, musicality wise and risk-taking wise. I think JnJ should be about finding a way to make your partner give the best performance of its life, and pretend like the music is your favorite one even if you don’t especially appreciate it.
* Do you still get nervous before a competition?
The more I spend time preparing a piece, the more I am. It’s not about the importance of the competition, of the amount of people in the crowd, it’s about how much work I’ve put to get to that point and how a mistake can have an impact on my potential disappointment.
I always have to remind myself that being zen and simply happy to be healthy and able to inspire people is a gift not everyone can say they have been given, and any amount of unnecessary stress will hinder my performance so I push away the clouds of doubt before I go on stage as much as I can.
* How do you deal with nerves before a competition?
See above answer. Plus making mental runs of what would be for me a perfect show.
* What competition have you done that meant the most to you? Why?
Disclaimer: I will mention Max Pitruzzella in those lines, because I have been his partner for many years and it is part of my past. I will repeat again how it is saddening for me to know now that he selfishly chose a path in life that hurt deeply so many people. I will not share videos of us for a while ; it is a bit sad for me to erase such an important part of my past, but it is not as important than to be part of a movement where there is zero-tolerance for people who are so careless about the other people’s well-being that they will take advantage of their position of power to exploit, manipulate, assault sexually etc. Zero-tolerance. With hope of a brighter future, I will now go on in sharing a bit of my past.
The first time my team Swinging Air Force dared going to the USA to do a competition. We were the first Canadians to do that! Got 3rd place with a routine where we were nurses and soldiers. 🙂 We were super nervous because we admired so much American dancers. Watching the tape cassettes at home and all that. 😉 We even had to go to NESDC a month before to ‘simply perform’ our routine to get feedback by the judges to let us know if we were going to be ridicule or not participating in a ‘real’ competition. Haha. So I get it when beginners are afraid. It is a scary world of star dancers out there. But in the end – 16 years later – I can assure you that we are all human and nothing replaces a good work ethic and countless hours on the dance floor to get better and perfect your art!
The first time I got a 1st place at an international event. Fast division. Woah!
Frankie 95 in 2009
We worked so much to prepare for that event! Every day, many hours a day, preparing to perform Hellzapoppin as well in the show. I learned that Frankie passed away while being in Montpellier at an event. We were so extremely sad, I remember a jam we did right away on Hellzapoppin music giving our everything in honour of Frankie. I mourned, I went to his funeral in NYC, drove early in the morning from Montreal… A lot of emotions around that event! So when Max and I participated in the really big Strictly and got the old timers recognition by winning, we were extremely proud.
ILHC 2012 (video above)
The first time after many years that I showcased a routine with a different partner other than Max. I did it with Thomas Blacharz. We spent every evening for a week in Herrang (after my full teaching day) to create the piece and I met him in Denver for 3 days later that summer. It was exciting and I was very proud of what we did together. We won the Showcase category. It proved to me that I was not a good dancer only because of Max, although I knew he contributed a lot in my development, just like I contributed to his. I was working on my individuality as a dancer, and this made a big difference in my journey.
* What is/was your favorite competition to watch?
Juniors at ILHC! Those kids are the biggest inspiration when it comes to giving your everything. <3
* Three pieces of advice to give to the next up-and-coming competitors?
1) Figure out why you want to compete so you are aware of your ambitions and select carefully where you assign your (probably) limited time in terms of dancing.
2) Give your absolute best because that’s how the experience is worth it
3) Find courage to express yourself while being inspired by others instead of trying to move like someone else (bonus: discover who you are it in the process). Be patient if you are looking for results. Persevere as it will eventually be rewarded internally and externally. Spread your joy, always!
* What do you enjoy about judging?
Getting to witness talent and ideas on a privileged seat.
* What do you dislike about judging?
Having to rank people when the values I hold dear don’t guide me to a clear ranking.
* As a judge, what are you looking for in a Routine?
I won’t be looking for the same things in a showcase, a classic or a team routine so here are the differences in my opinion:
In all routines, I will favour a lot new ideas and risk-taking and personality over pure technique. I am a fervent of the evolution of the dance, while keeping solid roots. If I see a couple that feel like a breath of fresh air, that dare go out there with there new ideas giving their heart out, I will take this into strong consideration over a renowned more experienced couple doing a more conservative routine even though overall technique might be better. Obviously, precision, rich movement, intricate rhythms and musicality all matter a lot, just as organic, elastic and efficient connection, even in a choreography context.
That being said, in a showcase division, a piece has to be especially extrovert and entertaining in its style and in the choice of content and execution. There is value to a routine which would entertain a general public crowd (public of non-Lindy Hoppers, neophytes). Often times, showcases will involve air steps. Although in order to add value to a routine, those air steps have to feel like any other movement ; the couple should execute them with the same precision, the same ease as other on-the-ground movement of their routine. I make small exceptions when I see a very daring and unusual air step being performed, because I want to encourage new ideas and risk-taking although if I feel like any of the partners are unsafe performing it, I will try to mention it to them and I will penalize them for trying something they were not ready for and putting their physical integrity at risk.
In a classic, I think we can trade pure entertainment to a more refined, deeply-felt, more intricate interpretation of a swing piece. Usually, a more experienced eye will appreciate more the value of a good classic routine. The social dancing feeling should be top priority, quality of movement and connection are also super important. Movement interpretation of music as to aim to be as good as the music itself.
In a team division, group execution (including individual dancing) and synchronisation, precision of group effects and formations and overall choreography are my main guidelines.
* As a judge, what are you looking for in a Strictly?
A strictly competition in my opinion should highlight the exceptional abilities of a specific leader dancing with a specific follower. A perfect balance should be aimed between improvising and using already rehearsed material such as combos and sequences. I think different events might have different traditions or preferences in what they are trying to promote and participants should try to get what that feel is in order to best prepare.
* How about in a Jack & Jill?
As I mentioned before, a JnJ should be a blissful moment where two dancers make the best of a given dancing situation. Take the best qualities of a follower, and the best qualities of a leader and try to make them operate at the same time! I want to be invited in sharing this moment with the competing couples, and I want to see respect and support in each others attempt at risk-taking, crazy musicality or variations. In all this magic, do not forget to showcase your best technique though, because I might be charmed by your instant connection, but it won’t make me close my technique eye! 😉
* What do you think the biggest misconceptions are about Routines/Strictly’s/Jack & Jills?
”I am not ready to compete.”
Well, if you read my 2001 first competition story up here, you know that I feel you sister/brother!
That being said, 16 years and a career later, my opinion has changed so I will share it in hope to encourage you to come out of your shell if you are ready for it (but you don’t know it yet).
If you are not ready to compete because you don’t enjoy competing or the concept of competing, then do not compete. You don’t have to.
If you don’t compete because you think you are not good enough… but you think you would enjoy competing…then that’s where trying to find courage is only what you need to make it happen! So here is what I think. Choose an event where you have seen newcomers and beginners being warmly welcomed (insert here almost all Lindy Hop events on the planet, this community is very warm to newcomers on average). Try to go with friends and find a mentor who will encourage you to do so as well. That’s what I did with my peers, remember, we went to ‘perform’ our routine just to get an approval first… hey we were insecure, so we went to our own pace! Try to do the same. Be gentle with yourself, but don’t stop trying until you get your goal! Baby steps 🙂
Use your passion as main drive and never compromise your well-being and your happiness for dancing. Dancing should be at the service of your well-being. Not the opposite. Write me if you need a little pep talk, I’ll answer as best of my capabilities : Annietrudeau@gmail.com. 😉
* Three pieces of advice to give to the next up-and-coming competitors?
1) Dance for dance sake
2) Study hard but create as hard. Be part of history as an innovator.
3) Be an artist growing through the practice of dance. Try to find and create beauty as much as you can!
This past weekend I was at Followlogie in Quebec, Canada and during the lunch time Q&A session we were asked what was a great moment in lindy hop for us. It was such a good question that I am going to put my answers here, on hopefully find some links to them.
My awards, in no particular order:
Greatest all-skate of my life time:
– ULHS 2005 – Fast Dance contest. After all the competitors had danced in their heats, there was the greatest all-skate of all time. While balancing on a chair, smushed against the wall, I watched in awe as the 30 couples on the floor swung out to “Jumping at the Woodside” as hard as they could. Not only that, but the audience clapped on beat!! And it was the most amazing thing I had seen to that day.
Greatest swing outs in a jam:
– Camp Hollywood 2008 – Strictly lindy hop finals – Mikey Pedroza and Nina Gilkenson. They were the only couple that made it to finals that weren’t regular partners and they still threw down. We, the competitors, slowly realized that all we were seeing were swingout, and they just kept going. It was an awesome build-up with an even better finish. They went all the way. Now watch it.
Greatest Aerial-prop moment:
– ILHC 2008 – Showcase Division – Max & Annie. Kevin and I were the first to put the Flying Lotus on the competition dance floor, and Max & Annie were the first to take it to the next level. It was so fucking badass; their height, their timing, and their ingenuity floored me. My god, are they good.
Greatest all-time moment:
– ILHC 2008 – Junior Division. I cried. The audience cried. We all lost it. For me, this was the first moment that I knew there would be a future for lindy hop. These little guys give me hope that the thing I hold so close and dear to my heart will continue to grow. Watch, enjoy, and cherish the moment.