photo credits at page bottom

Montréal based performance artist, choreographer and teacher George Stamos is known for his trans-disciplinary creations that are at once physically dynamic, ritualistic and thought provoking. 

Over the past fifteen years his works GoGo Condition, Schatje, White Man Dancing, Monday, croque monsieur, Reservoir- Pneumatic, Husk, Liklik Pik and others have received the acclaim of audiences and critics alike. George is also well known as a versatile performer who has collaborated with numerous choreographers.

Gender politics and the mind / body dichotomy have been underlying themes in his artistic research and creations. Stamos influences include Benoit Lachambre, Sara Shelton Mann and Zab Maboungou. Articles and reviews by Stamos have been published online and in print for Canada’s leading dance magazine The Dance Current regularly since January 2013.


group work for male dancers in creation

Situations will be performed at l'Agora de la danse in September 2015.

Situations explores how men occupy the spaces they create and how they interact with space and each other. Through dance and physical engagement, this sextet activates modes of masculine togetherness that open a dialogue on gender, responsibility, and power in a global context.

As the plurality of the title suggests, the inspiration for Situations is many fold. As well as the focus on male creation and occupation of space, this work comes from an interest in addressing the act of performance as the convergence of a new situation each time it is performed. The piece is also inspired by Stamos’ interest in The Situationist International, a European avant-garde group of politically minded artists that existed mostly in France and Belgium from 1957-1972. The Situationist International advocated alternatives to capitalism and experimented with the “construction of situations,” as art happenings. 

In the process of creating Situations, Stamos approaches choreography as a somatic blueprint for movement architecture that must be continually rebuilt from one moment to the next through tasks, choice, posture, series of movements, and gesture. This process is also focused on defining what aspects of maleness contribute to a collective process spread out through various cites at various times? 

While it is performed a sextet, an international extended “family” of male dancers (9 in Canada and 6 in the U.S. thus far) have collaborate in the creation of this project. Various combinations of these men along with local guest performers may also perform in future trio, quartet, quintet, and larger group variations of the work.

Minneapolis-based composer, dancer and composer Ryan Dean performs as a dancer and musician in Situations. Dean’s strengths in visual art, dance and music comprise a trifecta of complimentary art forms from which he draws his unique inspirations.  Ryan occasionally DJ's at music venues and has composed numerous pieces for his own and others' choreographic works using found sounds, metals, electronics, live vocalization, and turntables.

The Situations process has received support from The Canada Council For the Arts, The McKnight Foundation, l'Agora de la danse and le Conseil des arts et des lettres du Québec. 


Using the word “no” as a point of departure Nunounenon explores how feminism and "queerness"  informs a creative process between a male choreographer and female dancers. 

Through Nunounenon the collaborators seek to open new space for dialogue and promote alternative approaches to gender and power dynamics in contemporary dance. Turning clichés inside out, Nunounenon reveals the absurdity of hyper-sexualized bodies and discrepancies between idealism and reality while affirming the right for every body to hold power.



Reel, an in situ twirling meditation, oscillating between sacred ritual and childlike play. With Reel, Canadian choreographer/ dancer George Stamos takes a unique approach to the spectacle of spinning. 

Cloaked in black with a scrolling LED screen installed in his shroud Stamos spins at an accelerated pace on a small rotating platform for periods of up to 60 min at a time. Spectators are free to come and go as they discover and rediscover the turning ritual from their choice of proximity to the performer. 

Failed attempts to decipher the rotating text engage the viewer in a state of active viewing as they simultaneously receive the kinaesthetic transmission. The perpetual spinning plays with notions of endurance, time, trance and eccentric possibilities in public spaces. 

Liklik Pik 

Liklik Pik remixes fraternal gestures and animal impulses in a dynamic trans-disciplinary duo. Playfully evoking the pig as a totem animal – the little piggy of fairy tales and its alter ego, the dirty, nasty swine. George Stamos and his dance partner Dany Desjardins constantly play with these multiple facets, combining references to pets, food fetishes, and male stereotypes. Through clever role-play and an intensely physical somatic score Liklik Pik presents humans in a new light allowing for a free and loose approach to the male body. LikLik Pik favours a collage of situations and absurd humour that is audacious, and deceptively light.

 These guys are pigs.......


Knowing Not Knowing  

Teaching my interpretations of techniques and methods that have been passed down to me by the master teachers I have worked with is at the core of my artistic practice. In helping artists realize their goals I am inspired towards mine as well. My approach is a balance between a practice of disseminating information versus providing a context for workshop participants to share and polish their own skills and ideas. 

The way I teach movement is designed to develop the critical eye and awareness of methods for creating spontaneous mindfulness in motion. This includes teaching performers how to auto tune their senses and engage their intellect and body systems without disappearing into automatic dancing. The workshop will also expose the students to techniques for generating spontaneous movement compositions with objects and rhythm.

I am committed to providing a workshop environment that is a safe, mature, place to learn skills and strengthen abilities. My interest is in empowering fellow artists and assisting them as they expand their own creative potential.

Photo credits-

top of page- Ryan Dean, Robert Haarman, Patrick Jeffrey, Eben Knowler, Justin Leaf, Nic Lincon in Situations by George Stamos, photo courtesy of the McKnights Foundation

second from top- Ryan Dean, Robert Haarman, Patrick Jeffrey, Eben Knowler, Justin Leaf, Nic Lincon in Situations by George Stamos, photo courtesy of the McKnights Foundation

third from top- Gabrielle Surprenant-Lacasse and Anouk Thériault in Nunounon by George Stamos. photo by Mathieu Doyon

fourth from top- George Stamos in Reel photo courtesy of La danse sur les routes du Québec 

fifth from top- Dany Desjardins and George Stamos, photo by Belle Ancell

sixth from top- George Stamos, photo by Jerome Abramovitch 

bottom of page- Sarah Williams, photo by Jerome Abramovitch 

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