{"id":46037,"date":"2026-03-05T12:26:34","date_gmt":"2026-03-05T11:26:34","guid":{"rendered":"https:\/\/www.seeyousound.org\/?p=46037"},"modified":"2026-10-02T11:01:33","modified_gmt":"2026-10-02T09:01:33","slug":"7-inch-interview-with-caroline-monnet","status":"publish","type":"post","link":"https:\/\/www.seeyousound.org\/eng\/7-inch-interview-with-caroline-monnet\/","title":{"rendered":"7 INCH – INTERVIEW WITH CAROLINE MONNET"},"content":{"rendered":"
Featuring indigenous women of various generations, Pidikwe<\/em> integrates traditional and contemporary dance in an audiovisual whirlwind that straddles the border between film and performance, somewhere between the past and the future.<\/strong><\/h5>\n

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On the occasion of the screening of Pidikwe <\/i>in the International Short Film Competition at SEEYOUSOUND, we spoke with director Caroline Monnet.<\/p>\n

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Caroline Monnet is an award winning multidisciplinary artist based in Montr\u00e9al. Her work has been programmed extensively in festivals and museums around the world, including Toronto International Film Festival, Sundance, Berlinale, G\u00f6teborg and Rotterdam, as well as the Whitney Biennale, Frankfurt Kunsthalle, Montreal Museum of Fine Arts and the National Gallery of Canada. She was selected for the Cannes Festival\u2019s Cin\u00e9 fondation residency in Paris. She received the Sundance Institute\u2019s Merata Mita Fellowship and was named compagne des Arts et des Lettres du Qu\u00e9bec.<\/p>\n<\/div>\n

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One of the central\u2014if not the defining\u2014themes of your overall body of work is the reclaiming of Indigenous\u2019 imagery through liberation from the colonial gaze and oppression. How did Pidikwe<\/em> come about, and how does it fit within this ongoing trajectory?<\/strong><\/p>\n

Pidikwe<\/em> came out of a deep engagement with memory and resilience. I\u2019ve always been drawn to the idea that Indigenous imagery\u2014our symbols, our forms, our gestures\u2014carries knowledge that colonial frameworks have tried to erase or distort. With Pidikwe<\/em>, I wanted to push that reclamation further: to create a space where Indigenous narratives, aesthetics, and movement aren\u2019t just present\u2014they\u2019re active, asserting themselves outside the lens of the colonizer. The work plays with abstraction and corporeality in ways that feel like breathing back the energy that has historically been taken from us. It\u2019s about asking audiences to look differently, not just at what is \u201cIndigenous,\u201d but at the frameworks that define how we are seen. Pidikwe is both continuation and expansion: continuation in its insistence on reclaiming imagery, expansion in its embrace of collaborative and performative dimensions\u2014showing that decolonization isn\u2019t only a visual act but a bodily, spatial, and experiential one as well.<\/p>\n

\u00a0<\/span><\/p>\n

Why did you find the Roaring Twenties to be a particularly meaningful reference for inspiring and conveying the act of female empowerment embodied in the film?<\/strong><\/p>\n

The Roaring Twenties felt like a powerful touchstone because it was a moment of rupture\u2014a time when women were publicly claiming space, experimenting with new forms of freedom, and challenging rigid social norms. For me, referencing that era wasn\u2019t about nostalgia; it was about resonance. The energy of the twenties\u2014the jazz, the movement, the audacity\u2014mirrors the kind of female empowerment I wanted to explore in the film. There\u2019s a radical optimism in that period, but also a tension: women were breaking out of prescribed roles, yet the structures of power were still deeply entrenched. That duality reflects contemporary struggles as well, particularly for Indigenous women whose stories and bodies have historically been surveilled and constrained. By channeling the Roaring Twenties, we could evoke that electric, boundary-pushing spirit, while also acknowledging the ongoing fight for autonomy, visibility, and liberation. It\u2019s a historical echo that amplifies the contemporary act of reclamation\u2014showing that empowerment is both a celebration of freedom and a defiant assertion of presence in spaces that have tried to exclude you.<\/p>\n

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In the all\u2011female ensemble performing in the film, you appear alongside Indigenous poet Josephine Bacon. What is your relationship with her, and what was it like to collaborate on this project?<\/strong><\/p>\n

Working alongside Josephine Bacon was profoundly grounding and inspiring. I\u2019ve admired her work for so long\u2014her poetry carries such a deep, layered understanding of language, memory, and place. There\u2019s a quiet power in her presence, and that translated on set into a kind of rhythm and integrity that the rest of the ensemble responded to. This is not the first time I\u2019ve worked with Josephine, and she has become an important matriarch in my life. Our relationship is rooted in mutual respect and a recognition of the importance of intergenerational dialogue. The collaboration with all these women reminded me that reclamation and empowerment aren\u2019t solitary acts. They\u2019re communal, they\u2019re relational, and they gain resonance through shared presence. Being in that space with Josephine and the all-female ensemble was, in a way, a continuation of the broader work I\u2019ve always been drawn to, asserting visibility, voice, and agency collectively, not just individually.<\/p>\n

\u00a0<\/span><\/p>\n

I was particularly struck by the costumes in the film. Did the practice of beadwork play a central role in their creation?<\/strong><\/p>\n

The act of creating the costumes was itself a form of storytelling\u2014a way to embed Indigenous knowledge, memory, and presence into every stitch. I wanted each piece to serve as a bridge between the contemporary and the ancestral, carrying forward traditions as a living, breathing medium of resilience and identity. Every costume, every bead, every fringe, became a small act of resistance, a quiet declaration of continuity and survival. The costumes were crafted by my long-time collaborator Yso South, whose attention to detail and understanding of these histories was essential. From the beginning, I envisioned garments that could move with the performers\u2014allowing freedom, fluidity, and expression\u2014while also being visually striking in colour and texture. The 1920s served as a point of inspiration, a reference for energy, style, and audacity, but the work had to simultaneously carry Indigenous representation and speak to the present. The challenge\u2014and the joy\u2014was in weaving these layers together: historical reference, cultural continuity, and modern expression, so that the costumes themselves became a living extension of the film\u2019s themes of empowerment and reclamation.<\/p>\n

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In this work, the evocative power of dance leaves no room for words, fully claiming the stage for itself. Was the elements of powwow re\u2011arranged and blended with contemporary dance, or is it presented in a more traditional, unaltered form?<\/strong><\/p>\n

In this work, the dance is the language\u2014it carries the story, the memory, and the presence in ways that words simply cannot. The elements of powwow were intentionally reimagined and blended with contemporary movement. I wanted to honor the traditions, the energy, the rhythms, but also to place them in dialogue with a contemporary, embodied form that reflects today\u2019s Indigenous experience.<\/p>\n

The powwow elements provide a foundation\u2014a pulse, a cultural memory\u2014but they are interwoven with gestures, patterns, and spatial explorations drawn from contemporary dance. This allows the choreography to feel alive and responsive, bridging past and present while also asserting autonomy over how Indigenous bodies occupy space. By blending these forms, the stage becomes a site of reclamation. The audience is invited not just to witness, but to feel the continuity of culture, the resistance, and the liberation expressed through every movement. It\u2019s a declaration that Indigenous performance is fluid, evolving, and unapologetically present\u2014rooted in tradition but never frozen in time. It\u2019s also a way to bring healing to our communities and to recognize that we are still here and performing our dances even though the Canadian government once made them illegal.<\/p>\n

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At Seeyousound, Pidikwe<\/em> will be screened in a cinema programme titled Avant\u2011garde<\/em>, dedicated to experimental works that challenge the boundaries between artistic disciplines and established conventions. What is your relationship with avant\u2011garde movements\u2014particularly those active in the 1920s?<\/strong><\/p>\n

My relationship with avant\u2011garde movements has always been one of curiosity and resonance. The experimental energy of the 1920s\u2014whether in film, visual arts, or performance\u2014was about breaking rules, challenging expectations, and imagining new possibilities for expression. I feel a strong connection to that spirit because it mirrors what I\u2019m trying to do with Pidikwe<\/em>: to move beyond established forms, to blur the boundaries between disciplines, and to create spaces where Indigenous presence and stories can assert themselves on their own terms. The avant\u2011garde was radical in its time, and for me, it\u2019s inspiring to see how those movements embraced experimentation, hybridity, and risk. In Pidikwe<\/em>, I wanted to channel that same willingness to experiment while rooting it in my own experience, in Indigenous knowledge systems, and in embodied storytelling. It\u2019s not about imitation\u2014it\u2019s about dialogue. The film becomes a site where historical avant\u2011garde energy meets contemporary reclamation, creating a space that is at once playful, challenging, and urgent.<\/p>\n

\u00a0<\/span><\/p>\n

Your career has been shaped by constant movement between visual arts, performance and cinema, and Pidikwe<\/em> seems to synthesize all of these dimensions\u2014so much so that it is also functioning as an art installation. Did you conceive cinema as the primary space for experiencing Pidikwe<\/em>, or do you feel that its strength lies precisely in its liminal, in\u2011between nature?<\/strong><\/p>\n

Pidikwe<\/em> really exists in that liminal space, and I think that\u2019s where its strength lies. I didn\u2019t set out to make a traditional film in the usual sense\u2014I wanted to create an experience that could live across multiple registers: cinema, performance, and installation. Each mode brings something different. On the screen, there\u2019s intimacy, rhythm, and framing that guides the viewer\u2019s eye and attention. In an installation context, the work becomes immersive\u2014the viewer moves around it, encounters it differently, and can inhabit its space rather than just observe it. This cross-disciplinary approach comes naturally in my practice. Pidikwe<\/em> synthesizes these elements precisely because it\u2019s asking audiences to reconsider boundaries: between disciplines, between past and present, between the spectator and the work. Cinema is a primary site, yes, but the work gains a different resonance when it exists outside the traditional screen. Its liminal, in\u2011between nature is a reflection of the very themes I\u2019m exploring\u2014of reclamation, presence, and mobility. The form and content are inseparable: the way it occupies space is part of its story, part of its assertion of Indigenous vitality and creative freedom. This work is made with no compromises and no rules.<\/p>\n

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Alessandro Cortini\u2019s sonic contribution felt essential in fostering an immersive experience. Tell us more about his involvement: did he actively collaborate on the film with new material?<\/strong><\/p>\n

Alessandro Cortini\u2019s music was essential in shaping the immersive quality of Pidikwe<\/em>. I chose his track\u00a0Scappa<\/em>\u00a0because of the way it naturally builds intensity over time\u2014it has a pulse, a drive, a resonance that mirrors the heartbeat of the powwow elements and contemporary gestures, while also creating moments of tension and release. It wasn\u2019t about simply layering sound over the visuals; it was about allowing an existing sonic landscape to inhabit the performance, amplifying presence and letting the audience feel the ensemble\u2019s energy on a visceral level. There\u2019s a saying in editing: never fall in love with your temporary track. But in this case, once I knew Pidikwe<\/em> needed this type of soundscape, there was simply no other option. Scappa<\/em>\u00a0became inseparable from the rhythm and emotional arc of the film. Interestingly, the installation version of Pidikwe<\/em> is edited differently\u2014the pacing and rhythm shift, which opened the door for an original soundtrack by Guillaume Van Roberge. I love that the two versions evoke such distinct experiences: the short film carries its own emotional momentum through Cortini\u2019s track, while the installation invites a different, immersive journey with a soundscape created specifically for that space. It reinforces the idea that Pidikwe<\/em> exists in multiple forms, each one alive and responsive to the way it\u2019s encountered.<\/p>\n

\u00a0<\/span><\/p>\n

Which musicians have most inspired\u2014or continue to inspire\u2014your work?<\/strong><\/p>\n

Music has always been a vital companion to my creative process, and there are a few musicians whose work continues to resonate deeply with me. Alessandro Cortini, as we\u2019ve discussed, has a way of creating atmosphere and tension that feels almost architectural, shaping space and movement in ways that I find endlessly inspiring. Beyond that, I draw inspiration from Indigenous artists like Tanya Tagaq, whose voice and approach to sound push boundaries and redefine what expression can be. Her work embodies both tradition and radical experimentation, which is something I\u2019m constantly trying to channel in my own practice. I\u2019m also inspired by visual and experimental composers like Raven Chacon or Pauline Oliveros who play with texture, rhythm, and space. What moves me most is how music can act as both a guide and a collaborator\u2014how it can inform movement, visual structure, and emotional tone simultaneously. Ultimately, the musicians who inspire me are those whose work challenges form, defies expectation, and creates a space where presence and imagination can coexist.<\/p>\n

\u00a0<\/span><\/p>\n

You have produced both feature\u2011length and short films. What do you see as the key strengths of the short\u2011film format?<\/strong><\/p>\n

The short\u2011film format has a unique strength in its precision and intensity. Because the runtime is limited, every choice has to carry weight. There\u2019s no room for anything extraneous, which creates a kind of heightened focus and immediacy. For me, shorts are a space for experimentation, where I can explore ideas, rhythms, and forms that might be too daring or unconventional for a longer format. They can immerse the audience quickly, drawing them into a world, a feeling, or a gesture. In a way, short films are a laboratory: a space to test, to take risks, and to create a dense, immersive experience that lingers long after it ends. They allow me to synthesize my work across visual art, performance, and cinema in a form that feels immediate, potent, and precise.<\/p>","protected":false},"excerpt":{"rendered":"

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